Ah, yes, if there’s one thing people always say about Quentin Tarantino movies, it’s that they’re puzzles you need to solve. /s

It’s quite a choice to die on the hill of “this terrible movie was marginally less terrible than those two terrible movies”.

Sources speaking to the Hollywood Reporter claim it wouldn’t have been a David Leitch movie, just one directed by him.

Is that fascinating? For obvious (if cowardly) reasons, they don’t want to deviate far from what made Game of Thrones one of the biggest shows on the planet. Rare is the franchise that radically changes its tone and style between entries.

I’m seemingly in the minority, but I would strongly argue that the John Wick films, while very well choreographed, are chock full of gratuitous action that doesn’t add anything. How many times do we really need to see John take out a roomful of goons only for a second wave to arrive and he has to do it all over again?

That looks alright. I think the problem is the texture of the live-action shirt/balaclava more than the design. If it didn’t look like skintight lycra, it would fit better with the more combat ready look of the trousers/boots.

It does look kinda shit. Even if this is just a step on the way to a proper costume, the lycra shirt/balaclava combo is a weird choice.

The minifigs are fine, and the ornithopter itself looks pretty good (although nowhere near as good as stuff like the Tumbler or DeLorean), but the star of the show is the engineering.

I can’t really figure out why Warner Bros. would do two seasons — not one, but two seasons — of the animated series, and spend a lot of money on it, unless there was some kind of endgame.

Ellie did let go, both literally and figuratively. And her story pointedly ends on the sentiment of “But I’d like to try”. It’s bittersweet, but it’s clearly hopeful, and I don’t see how anyone with a modicum of media literacy could read it any other way in good faith.

Superficially it’s all like “Revenge bad! Don’t do revenge!”. Yet Abby gets her revenge, finds peace.

Yeah. You can like or dislike where they went with Part II, but I don’t know how anyone could play it and think it isn’t the result of a very clear vision of what they wanted to do with all of the characters.

He isn’t saying that though. Despite how it’s been categorised here (and in Vanity Fair’s headline), he never mentions a cliffhanger or any change from how the book ends. What he actually says is:

Mr. & Mrs. Smith’s primary goal is to let audiences know John and Jane aren’t a version of James Bond; they’re regular folks. They could be anybody—so much so that, while running around New York City after an assignment goes awry, they complain about blisters and keep stopping to catch their breaths.

There’s a huge difference between making a film and then making a sequel to it, and going in intending to make a trilogy with no guarantee of the second or third installments getting made.

I mean, I’m not suggesting it’s a one-to-one situation, but Godzilla Minus One only cost $15m. It’s more than possible to produce quality looking films on far lower budgets.

With a modest reported budget in the neighborhood of $70 million, 28 Years Later feels like a slam dunk.

Nah, they’re closer than that.

You could make a case that they’re cousins though. Palpatine was implied to be involved in Anakin’s conception after all, although the precise details of what he did and whether it involved his own genetic material is unclear.

Except that The Authority are getting their own movie afterwards, which is a very, very odd choice if Superman: Legacy is about showing them how to not be uncaring and violent.