Part of the challenge of writing and posting critical assessments of contemporary films and assigning them arbitrary numerical ratings is that oftentimes you find yourself looking back on the critiques of yesteryear and asking yourself what the hell you were thinking when you praised/criticized a particular release. Tastes change, develop, and mature over time, and very often the movies that most resonated with you back in the day don’t have the same appeal or impact when you revisit them years later (and vice versa). For instance, when I recently looked back on some of my write-ups from just two years ago, I was surprised at how dismissive I was of Joker, slapping it with a paltry 4/10 and writing it off as pretentious. That same year I named The Irishman my number one pick in my annual Top Ten, which is wild because I’ve seen it exactly once, as opposed to the five times I’ve seen Jojo Rabbit. I also apparently thought so little of 2018’s Halloween soft reboot/sequel that I didn’t even bother with a Let’s Talk About, giving it a halfhearted 6/10 and comparing it unfavourably to John Carpenter’s 1978 original.Continue reading Let’s Talk About: Halloween Kills
2018 started with such promise, but much like that one Thanksgiving where I attempted to make beef wellington for my loved ones, it ended with decimated expectations, disillusionment in the promise of good things, and a round of pumped stomachs. Though a few worthwhile releases certainly caught me by surprise, by and large this was a tedious and mediocre year marked by bitter disappointments, even where my beloved Indie market was concerned. Many of the films I had high hopes for fell flatter than grandma after that aforementioned Thanksgiving dinner, while other movies I had no expectations for whatsoever taught me to never again ask “How bad could it possibly be?” unless I’m planning on French kissing a pencil sharpener.