I don’t know if faith-based movies are the best examples, but the Academy does seem to occupy this weird middlebrow spot that isn’t a great reflection of either mainstream taste or serious critical love.

Like it’s understandable why they didn’t nominate the Spider-Man movie, far and away the biggest thing to come out…

I think it’s definitely the last part, plus the fact that most studios delayed release of a big chunk of their slate so the first half of the year was kind of a dead zone.  It’d be like if the NFL went on strike and games were no longer televised, so the superbowl this year was being played between Ball State and the…

If there is supposed to be a previously existing connection to the Ironheart character, Andre Sims seems like a solid guess, but the whole “major Marvel player” thing makes that seem less likely. Maybe they’re trolling us after the Scarlet Witch series and he’s Mephisto?

I feel like the complications work better if the movie took a little more time to explore exactly why age of consent laws exist and why it’s fucked up for an adult to date a 15-year-old. Instead Gary kinda just wears her down, his immaturity is treated like a character flaw to work around, the movie makes a pretty…

Of the speculative fiction movies this year, a thought The Green Knight did a much better job of feeling like a fresh take on an old story with some fine visual weirdness. Dune basically seemed to hit on a lot of the “space, but with magic powers and a chosen one” stuff that Star Wars already does. I realize that…

“Who is this for?” is usually code for “I can’t imagine any significant group of people who would want this.” It can be myopically applied, but it’s not usually a literal attempt to define an audience’s ownership of corporate IP.

There is certainly still some bullshit gatekeeping, but in some ways I feel like the…

ICP’s main audience is working class urban white kids, made by the same. That comes with a ton of baggage, but they’ve always been vocally opposed to racism and religious hypocrisy, and they’re moving toward a better place on a number of other issues. That doesn’t absolve them of the heaping amounts of shit they’ve…

I dunno, is a desperate cash-in attempt really bold? It seems more like the way Universal tried to clumsily slap together a monsterverse after the MCU caught on, and at least there was a track record of people watching monster movies.

They don’t, really.  They’re trying to Jedi mind trick us into believing that Spider-Man characters who are supporting players by their very nature are capable of carrying their own movies.  No one would ever make a Kraven movie if they had access to even, say, another five percent of the Marvel stable.  

He’s actually playing Squirrel Girl.

The trailer for Belfast seemed like something a movie about the showbiz industry would cut together to represent the in-universe awards frontrunner.

The new trilogy was really a blessing and a curse. The prequels had a largely new plotline, but were also so burdened with other issues that they made Lucas give up the rights to the films. The new trilogy, while much better in isolation, shares so many plot elements that it might as well be a soft remake of the…

I hate myself for being nostalgic for commercials, but it seems like there been a noticeable shift from paying top dollar for creatives to come up with something exceptionally funny or clever (at least by advertising standards) toward paying millions for Brad Pitt to tell me how great Tom Brady is. Hiring Mike Myers,…

That was one was kinda fascinating for what it revealed about how marketing people think. “Here are two characters with two large, mostly non-overlapping fanbases, so if we cram them both in, we’ll appeal to twice as many people! Even though interacting with each other is not in the top thousand things their fans want…

I feel like one of the things that get overlooked in these discussions is just how much more expensive movies in general are than they used to be. The inflation adjusted budgets for Citizen Kane and the Godfather were around $15 and $40 million, respectively. Endgame cost $356 million, and Moonfall was $140 million,…

I feel like this applies to the whole series. They were clearly protected under satire laws in the early days, but now they’re pretty much just doing a TNG-era show with the names changed.

I haven’t seen as much of the new shows, but in the TNG era, I feel like it was always implied that the Enterprise could overpower anything except a Borg cube. Even the Romulan warbirds, which were way bigger and could cloak, never felt like a serious threat individually. Whenever they needed them, the Klingons, or…

If it’s him, and he seems like the only existing candidate since Jason Todd is being used on Titans, they’re probably making him adopted for the series to avoid having to go into it or imply that Batman had sex. It could also just be a new character like most of the villain kids will probably be.

“From the writers that brought you Batwoman” doesn’t inspire a lot of confidence on top of such an already derivative premise. The show has some good elements, but “incredible writing” isn’t among them.

Yeah, I’m a bit confused about whether he offered to do it himself because it was too hard to find someone else willing to do it, or whether it didn’t work out because he insisted on doing it himself. Because “Channing Tatum wants do a Gambit movie if we can find him a director to take it on” seems like an easier sell…