The Elektra film was shit, but that’s not on Garner. She was fine in Daredevil (which comes thisclose to being a decent film, but everything is executed just a little too shoddily to get over the line).

The second movie has the best-directed action sequences of the bunch

The second one did, I don’t think Fallout did though. Cavill was CIA not IMF.

As far as Fast and/or Furious goes, I get what you’re saying. The action is cartoonish from start to finish and I don’t know how anyone can take it seriously or be excited by it.

Despite your many insinuations, I don’t think there’s a single in person in this comment thread who’s argued that she’s not a racist. So why, given she’s a racist and even “a big fan of brownface and yellowface”, do you think blackface is the one line she will not openly cross?

I’m pretty sure the position is: this asshole who has been extensively documented as performing racist caricatures of a number of different races, within a brand that’s also largely based on ableism and sexual assault “jokes,” didn’t engage in blackface in this case.

It does have one other weakness: the villain. I’m always surprised when Michael Nyqvist shows up because I’d forgotten he was in it since the last time I saw it. The role doesn’t stack up against what Philip Seymour Hoffman or Henry Cavill are able to bring. Hell, even Dougray Scott is more memorable.

2 is not good. The second half is kinda fun when it just turns into a non-stop John Woo self-parody, but as a film it’s really poor. The whole first hour (right up to the lab break-in) is just a waste of your time with basically no redeeming features. Thandiwe Newton is kinda terrible in it too — not that it’s a…

I was only aware of the WGA stuff because I was curious when I saw they posted their full demands as the current strike kicked off. It’s entirely possibly the other guilds have different deals, although I would expect them to be similar.

I mean, All-Star Superman, which I believe Gunn has stated is one of the primary reference points for his film, covers it like this...

Not so. From the WGA website:

McQuarrie was brought in to reshape Ghost Protocol mid-production though, so arguably that’s the beginning of his influence.

Well, if you produce a hit show like Stranger Things, you may have the opportunity to renegotiate your residuals (more likely to a higher rate than a totally different approach), but the default is tied to subscriber base.

Correction: They have to pay residuals for it being there. Whether anyone watches it is irrelevant. Streaming residuals are based on the size of the subscriber base to who could stream it, not the viewership who actually does.

The issue is residuals. Residuals for streaming content is paid out based primarily on the subscriber count of the service, regardless of whether any of those subscribers are watching that content. So even if something like Crater gets zero views, Disney still have to pay out just for it being available to their 150m+…

From what quotes I’ve read from him previously, it’s always sounded to me like Villeneuve means Messiah specifically. If it’s that short, perhaps there’s some aspect of it that he wants to explore in more depth than is covered in the novel, but I don’t think he’s afraid of ending on a downer.

My daughter commented that the action set pieces just went on and on and didn’t know when to stop

What Maverick did so well was to successfully market itself to older people who remember the original well, but very rarely go to the movies... and they came out in droves for it. The genius was in achieving that whilst also keeping it accessible and appealing to younger viewers. The Goose and Iceman stuff will…

And humanity, despite having not reached enlightenment by any other measure, unanimously stuck to their guns on this one issue for 10,000+ years?

They’re not writing the show though. The question is whether there’s a decent idea in there that better writers could do something with.