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About Webslinger

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  1. After an extra year-and-a-half build-up, No Time to Die proves to be worth the wait as a big, rousing swan song for Daniel Craig. After five films and fifteen years, Craig rounds out his tenure as James Bond with a highly ambitious and often highly entertaining affair that delivers the expected stellar action sequences while also taking some bold chances with its storytelling decisions. Director and co-writer Cary Joji Fukunaga ably balances the many plot threads at play in the film’s hefty 163-minute running time, and he does so while lending the quieter scenes a moodier, more contemplative e
  2. I feel like landing ahead of Spectre's preview number is a relatively encouraging sign for No Time to Die, but we'll see. On a tangentially related note to the A24/Neon discussion: I would have loved to see Titane get the "A24 deliberately mismarkets offbeat horror-adjacent film as mainstream horror" treatment just to see what would have been hilarious "WTF" reactions and an inevitable F CinemaScore. I enjoyed the film thoroughly, but man, where would one even begin in trying to explain it to someone unfamiliar with Raw (Julia Ducornau's previous film) and/or uninterested in purpos
  3. You’re damn right! As much as I want to subscribe to the notion that this is just the warmup and the truly great run is yet to come (though the current makeup of the organization suggests that might actually be the case this time), we’ve already seen this movie several times in the last 20 years: M’s come out of nowhere to have a surprisingly good year, pieces appear to be falling into place, incremental improvements follow in the offseason, and then… nothing. So I really want to see them get the job done now, unlikely as it feels given the current state of the standings and the ti
  4. Not gonna lie: given the feast or famine nature of COVID era box office and how unconventional Last Night in Soho looks, I’d honestly be surprised if it even got that high. But then again, I was pleasantly surprised when Baby Driver opened well and grossed over $100 million, so I’m hoping that I’m once again underestimating the mainstream’s taste for Edgar Wright.
  5. Oh, for sure. Granted, I think this version of the film has so many problems at a fundamental storytelling level that I'm not sure *anyone* in the title role could have saved it, but Ben Platt definitely sticks out as the one truly bad performance in a cast that is otherwise trying their hardest to do something meaningful with the deeply messy and problematic material.
  6. A film that is sure to be a prime target of The Discourse between its casting, its unfortunate implication-laden plot, and its clumsy handling of extremely serious topics, Dear Evan Hansen is a mess. It's always abundantly clear that Stephen Chbosky's adaptation of the Tony-winning musical has good intentions and wants to say something meaningful about teenage mental health, but its tone is erratic and its plot requires both complete suspension of disbelief and the willingness to accept a whole lot of morally objectionable behavior from a protagonist the film frames as someone we're supposed t
  7. Yeah, I doubt that Death of the Nile is really going to have much of an effect on Belfast’s Oscar hopes. Even if it ends up not being a good movie, cast controversies notwithstanding, Branagh has had a long and varied enough directorial career that I think most folks will be able to just write it off as a troubled studio film that didn’t work out, not as some sign that he doesn’t deserve recognition for a passion project he’s clearly more locked in on. I’ve also long thought that Norbit didn’t really cost Eddie Murphy his Oscar. It’s a repugnant movie, yes, but I thought the bigger
  8. I would be sooooo down with a re-release of the original. I was only 8 during its theatrical run, so I was far too young to go see it. (The sequels would end up being the first two R-rated movies I saw in a theater.) That said, I don't think Warner Bros would go through with it.
  9. I’m not too worried about Wan’s ability to get future horror projects funded. Even outside of the leeway that his non-horror franchise work will get him, the fact that he launched two long-running horror series means that I think studios will still give him a shot at his horror ideas in the hopes of getting another Saw or Conjuring. The only catch is he won’t necessarily get as much money as he had to play with for Malignant.
  10. I saw it this afternoon and enjoyed it. The story and characters are decidedly slight, but Wan is clearly having tons of fun showing off his skills as a technician behind the camera. And maybe my threshold for weird horror is just at a different place than others' (especially since much of the horror I like seems to be of the indie or indie-influenced variety), but I didn't find this nearly as audience-alienating as advance word had suggested. It's really bizarre, yes, but it still feels more mainstream-friendly to me than, say, an Ari Aster film or something else from the A24 whee
  11. A Judas and the Black Messiah A- The Card Counter The Green Knight In the Heights The Mitchells vs. the Machines The Suicide Squad B+ Barb and Star Go to Vista Del Mar Candyman Cruella I Care a Lot Luca The Night House No Sudden Move Pig A Quiet Place: Part II Raya and the Last Dragon Shang-Chi and the Legend of the Ten Rings Zack Snyder's Justice League Zola B Black Widow F9: The Fast Saga Fear Street Trilogy (1994, 1978, 1666) Free Guy Go
  12. Though it seems much different from First Reformed at first glance, The Card Counter actually works as a really fascinating companion piece to Paul Schrader's preceding film. At first glance, the films feel like polar opposites. First Reformed's Rev. Toller is, at his core, a good man who loses his grip when faced with the corruption and moral rot of the world, while The Card Counter's protagonist, William Tell, is a man with a troubled past who has methodically carved out a sense of peace through routine and - as he puts it - modest goals. And yet, both films feel like excellent studies in ho
  13. So... for about 90 minutes, Malignant is a reasonably compelling horror flick whose paint-by-numbers character development is offset by some cool sequences and a constant sense that James Wan and all involved know what kind of movie they're making and assemble it like pros. Those last 20 minutes, though? *Chef's kiss* Once all the layers have been pulled back on Gabriel's nature, it morphs into a deliriously gory bloodbath that feels like the perfect union of all of Wan's strengths and sensibilities behind the camera. It might even be a more impressive accomplishment than what he p
  14. After seeing some of the uglier drops for big openers in the COVID era, I'll gladly take a 55% 3-day drop for Shang-Chi. Based on the quiet buzz and the wildly mixed takes on its approach, I guess I'm not surprised that Malignant was just a blip on the radar. I'm actually pretty excited to check it out after hearing how bonkers it apparently is. I'm also not surprised to see such a soft opening for The Card Counter (there were only three of us in the auditorium at the showing I went to last night), but it's still a bummer. Oscar Isaac is great in it.
  15. I also really dug the Field of Dreams game. It’s a concept that played much, much better than I thought it would (save for some weird camera angles, though I suppose that goes with the territory in an unconventional venue), and you couldn’t write a better ending than the one Tim Anderson delivered. Count me in on wanting to see them do it again.
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