It’s been a while, hasn’t it? I’ll open by apologizing to my half dozen fans for the lack of snooty film critiques recently (by which I mean, since 2021). At various points throughout 2022, I intended to sit down and pen proper reviews for films I actually enjoyed such as Barbarian and The Black Phone, but alas, I lacked conviction. The reasons for my lack of attention to my snooty film critic persona are simple. First and foremost, most of my time and energy when it comes to writing these days have been devoted to serious writing, not film critiques no one reads (any agents out there looking to represent a sci-fi novel? How ‘bout two?). Second, I’m a lot healthier than I was when I first began this venture – I seldom drink anymore and I quit smoking completely (yay!), so the persona I cultivated of an alcoholic, chain-smoking, basement-dwelling, embittered film critic now seems strange and alien to me. Finally, I see so few contemporary movies nowadays, and most of the ones I do end up seeing are too nondescript for words. Hate to say it, but 2022 presented some of the most boring, forgettable, overhyped, uninteresting, nondescript, and unmemorable movies I can barely remember watching.
In order from least boring to most boring, they are:
Continue reading 2022 Top Ten… Blandest Movies List (Number 5 Will Bore You to Tears!)
In my last entry, I introduced this fascinating and radical new series on Effective Protagonists with an examination of Luke Skywalker in the context of the first Star Wars film. In analyzing his hopes, frustrations, uncertainties, conflicts, and growth from angsty farm boy to dapper rebel hero, we determined that it is his innate relatability that makes him an effective character, and until somebody proves me wrong in the comments section (which I moderate like a KGB postal censor) my words shall be taken as gospel.
Continue reading Effective Protagonists, Part II: Pirates of the Caribbean
When I looked back on 2017 in preparation for this list, I realized I actually liked most of what I saw. Maybe it was a rare quality year for cinema (unlikely), or maybe I’ve just become increasingly scrupulous about the films I choose to view (bang on). Whatever the case, after slotting the eight films I loved enough to purchase on DVD, I found it was a bit of a challenge to sort through the plethora of other films I just sort of liked in a ‘Good 7’ kind of way but don’t harbour much enthusiasm for. This pool of films included The Founder, John Wick 2, War for the Planet of the Apes, Wind River, Spider-Man: Homecoming, and The Meyerowitz Stories, which were all certainly good but not good enough that I’d brand any of them Top Ten material.
Continue reading 2017 Top Ten List
Marvel’s latest popcorn-muncher, Thor: Asgardian Rhapsody, premiered this month to critical acclaim, serving audiences a god’s portion of colourful, lighthearted, and (barring a few ‘edgy’ words) family-friendly entertainment and proceeding to earn Disney somewhere in the vicinity of ninety-two zillion dollars.
I wrote that paragraph at the end of October in complete confidence it would prove itself to be true – not because I’m some kind of absurdly intelligent Sherlock-figure who can determine the outcome of any given scenario courtesy of a supercomputer brain coupled with increasingly lazy writing – but because Disney is at the top of its A-game in regards to its Marvel properties and has yet to truly fail.
With something like seventeen bloody installments of the MCU in the can, Disney has all but mastered a formula for bona fide theatrical enjoyability combined with a guaranteed financial return that largely consists of making everything look and feel like Guardians of the Galaxy, and after a glance at their future release schedule it’s evident they’re only gaining momentum. Strap on your seat belts, kids, because we’re going to get nine Marvel movies a year until we’re all rotting in the ground.
Continue reading Thor: Ragnarok and the Marvel Problem