I saw it Friday and enjoyed it but after the pre-credit sequence the movie ground to a halt and I seriously considered leaving because I was so bored.

friendly FYI that Morrison uses they/them pronouns

This movie doesn’t really have much interest in being anything other than what it is. It’s really all just a dressing for the bloodbath, and in that way, feels like home.

That’s poetry. You’re a marvelous writer, and this is so well-observed.

I do not (and probably never will) watch this show, and clicked only because I’m always curious to see what Morrison is doing. But it would be nice to think that they were trying to say that no matter what universe it is, Vic and Garfield are brothers. That’s an emotional deep cut any fan of any version of Titans…

Another more obvious point to make is that if these HK films were lifting from Evil Dead, generally speaking they’d likely be far more overt and direct in their imitation, haha. We’d have had Anthony Wong in an exact copy of Bruce Campbell’s outfit or something, if it was deliberate!

The gore is really good. Hard to believe we have never seen a cheese grater used this way before, but that moment is one of many that are viscerally unpleasant but just witty enough to avoid the icky aftertaste of a torture porn movie. The movie is playful in a very dark way instead of lapsing into gorehound machismo…

Now I want an Old Man Mario game, where he comes out of retirement to save the princess one last time.

I’m one of those weirdos who thinks the 2013 remake is better than the original.

The Evil Dead also had a direct influence on a whole string of Hong Kong films, some involving hopping vampires and others more directly borrowing Raimi’s high-speed tracking shots and tree demons.

Are you really arguing that the Coen brothers were more important to the technology of LOTR than Star Wars? Certainly at the time people were willing to admit how much Gollum owed to Jar Jar Binks.

This is a gracious answer from Elijah Wood, but it’s not very hard to read between the lines. He all but says that the new movies sound like an ill-advised cash-grab that will struggle to recapture any of the charm of Peter Jackson’s movies. Those movies would be hard to top even without the changes in the industry…

If they’re really going to bring the Krakoa storyline to an end, then it’s too bad Jonathan Hickman won’t be coming back to write the ending. House of X, Powers of X, and Inferno have been the clear highlights of the this era, although it’s been fun to see other writers romp around in Hickman’s sandbox.

The fuck does “Lee’s Dracula is a preserve nightmare” mean? He’s been pickled and put in a Mason jar?

I’m the guy who thinks the Resident Evil movies are pretty great. The scripts are silly, but the action is wonderful, with spatial clarity and witty choreography. Paul W.S. Anderson gets a lot of shit, but the only action director in the anglophone world who consistently eats his lunch is Chad Stahelski. Once upon a…

Gilroy’s explanation makes a lot of sense. There’s not inherently wrong with The Volume, except that it doesn’t necessarily fit with the workflow of his show.

Except those aren’t comparable sorts of films? Very, very few people are ever going to be genuinely trying to decide whether to watch Moana (PG-rated, animated, primarily a comedy) or The Whale (R-rated, live action, drama with minimal humor).

If the film is about an actual film critic, which I begin to doubt, then the best guess after Pauline Kael is Kevin Thomas, who is the subject of an appreciative essay in Tarantino’s Cinema Speculation. 

Wondering how many people nowadays know who Pauline Kael was. Or how many people can mention the name of any movie critic.

The last contemporary Tarantino movie was Death Proof in 2007. For the Coens it was Burn After Reading in 2008. For Paul Thomas Anderson it was Punch-Drunk Love in 2002. For Wes Anderson it was The Darjeeling Limited in 2007. For Steven Spielberg it was War of the Worlds in 2005. For Guillermo del Toro it was Hellboy…