There's a certain mindset in some fundamentalist quarters that says, since mankind is by nature debased and foul without the touch of God, it's understandable somebody's sinful, sinful sexual awakening might pinball into the further reaches of harmful perversity - thus, the things done in one's teenage years are…

Man, "terminal disease doesn't kill people; bullshit accidents do" is turning into a real thing in shitty indie movies these days.

Speaking of short-run mysteries with a cultivated Twin Peaks vibe that sabotage themselves with a "play along at home for a cash prize!" gimmick, are we going to see a Push, Nevada write-up down the line?

That was something of a strange trend in the Eighties - turning from critique in the first installment to gradual embrace as the sequels pour out. First Blood started with a portrait of Rambo as a man traumatized by war and divorced from his country; by the third movie, he's being recruited to drive the Commies out of…

Cobra's got an even messier history than that. After he left Beverly Hills Cop, he took the elements he wanted and pasted them on to a loose adaptation of Paula Gosling's A Running Duck (where, as far as anyone can tell, the only element that survived was "Woman witnesses crime, cop protects her from criminals out for…

Both Death Wish and Cobra are birthed from a similar ethos, but it's interesting to hold them up for contrast. Death Wish commits to its ethos - the state is failing, there is no justice in the system, Big Government and Strong Systems will not save you. Cobra, on the other hand, tries to embrace the agency of the…

The main reason I know about the movie is that they've got a whole lot of white dudes playing Egyptian gods.

The best and the brightest have made our Zeerust utopia, but they still can't kill the fucking spambots.

Meanwhile, on We Hate Movies, the guys dig into another Nineties kid power movie, House Arrest. They are just not having it with Kevin Pollak, nor with the premise, which could probably be remade by the guy who brought Goodnight Mommy to Cannes as a compelling psychological thriller.

LARP tends to be more of a regular, long-running commitment. Instead of an impromptu group of 4 or 5, there's usually a local organization with officers and staff. People come, people go, but the group usually remains constant.

Weirdly, when I saw the whole "Germans try to figure out whether or not they can do the Hitler salute,' my first thought was Dieudonne, the quenelle, and the whole "is this anti-Semitic or not?" debate surrounding it. Of course, there's a clear degree of difference, but the whole "we're ironically adopting this…

June, how much would you say you know about peyote?

Man, I forgot those examples. No wonder there was the whole "ugh, PC" thing in the early-to-mid-90s - all the shit it went after was practically background radiation in the 80s.

That Stealth "prime numbers" thing has become one of my script reviewing maxims. If you are going to throw obscure concepts and figures at the audience without explanation, only to pause to explain one of the most basic bits in details, you've got to reexamine where you're coming from.

Of course, Arrow now kind of has to deal with that earlier damage. It's still weird to see some character blow in from outside Ollie's circle of friends, point out the very important fact that the Arrow is still guilty of multiple murders, and then just have that concern blow away on the wind.

Batman, Arrow… The Flash cuts down on it, but the closer the superhero is to a street-level vigilante, the more likely the story is going to be focused on how the hero views himself as part of a greater construct, a city that has given him strength and now needs a defender. And of course, the more likely that the…

Great, the Organization of Douchebags In… wait, I had something for this… Nowheresville.

As was the recommendation of How To Survive a Plague.

Meanwhile, on We Hate Movies, the guys take on the rather reprehensible McDreamy comedy Loverboy, wherein he plays a pizza boy turned prostitute who is TOTALLY NOT GAY BRO. I'll be honest, that patina of unfortunate casual homophobia (with occasional dollops of racism - oh hey, Sixteen Candles, what are you doing…

It's one of those things that "damned if you do, damned if you don't." Keep it in, and it will look ridiculous to a modern audience, as it was written in the days when writers didn't really understand how homosexuality worked (see: Anne McCaffrey and the wonders of the tent peg). Take it out, and you've engaged in…