Our justice system is nominally built upon the notion that we are all equal under the law. That’s certainly demonstrably false but letting Polanski off the hook because he’s a brilliant director just highlights that gross injustice.

Lucrecia Martel was the president of the jury at Venice this year. She has enough credibility, especially after Zama, to make me think twice about Joker, which before seemed like it could only be a put-on.

Ahh so you’re one of those people that doesn’t think objectivity in art exists, huh?

:(

Oh god, the present has made an ascetic of me. The only thing that feels normal is sitting there being not-in-the-mood with people who don’t call back.

This movie is so meandering, so stuffed with easily excisable scenes whose revelations wick off with the arrival of the next fit-for-the-cutting-room-floor vignette, it’s as though everyone made this all up as they went along. What a strange effect for an adaptation of a legendary Stephen King book to have.

I wonder how Faeries fornicate? Do their wings flutter like hummingbirds as they achieve the apex of their lurvmekkin?

I thought Victoria Pedretti was going to be in this, too.

I wouldn’t call it obtuse. Michael Powell’s kinky exotic technicolor is miles and miles from Clayton’s staid British black-and-white. They’re both films about sexual repression, but they come down on different sides of the issue, or at least that’s what it looks like if you pick a frame at random.

I’d argue that the ‘70s are the new ‘40s, the classic movie period filmmakers evoke when they want to suggest danger, decay, and moral risk. [...] Apparently Joker even uses the Saul Bass Warner logo from the ‘70s, which you see whenever movies want to evoke the decade (see also Argo). Fincher used the ‘70s…

My guess is that The Batman will probably be a kind of retro-thriller, sort of like how Seven felt like it could have been taking place as much in 1975 as 1995. So that would keep the timelines ambiguous enough, if for whatever reason the studio wanted to avoid a near-total reboot. (Though I suspect this is…

I hope that Flanagan’s series sends everyone back to watch the best adapation of Turn of the Screw: Jack Clayton’s 1961 film, The Innocents, starring Deborah Kerr and Michael Redgrave.

It sounds like the adaptation will have a bigger cast of characters than the source novel, but that is almost inevitable. There are only about seven people in the whole book, and a few of them loom in the distance instead of speaking.

October fucking 4th and we’re seeing reviews now? WTF? I hate this, I want to see the movie now.

If Joker wasn’t called “Joker,” you’d never know it was a DC movie. Though there are characters with the last name “Wayne” and it takes place in a city called “Gotham,” there’s little else that distinguishes Todd Phillips’ latest film as a comic book movie.

This game owns. There must be hundreds of little jokes tucked into Oldest House, from “Threshold Kids” to the cheery Lost-like instructional videos to the rubber duck ominously placed in a containment cell. And Remedy has the confidence to let you walk right past so much strange, hilarious material.

You realize, of course, that if Dark Fate does well, we’re totally getting a Cameron-produced Aliens sequel that ignores Alien 3 and Resurrection.

I have a vague recollection that the description takes up all or nearly all of the chapter.

Now that is exactly what I mean.

Are we talking about the same Disney? Because adapting novels and old stories has been Disney MO since the beginning. The company’s first feature film was Snow White and the Seven Dwarf. You can count the number on non-adaptation films in the Disney canon on your fingers.