What if grief was funny and badass?

Some of the most beautifully accomplished sequences in Raimi's career (both horror and comedy in battle with one and other, rebooting the enterprise of the first one for one big punchline, coming from Chaplin to being a precursor of Peter Jackson's early stage), and working as both a reaffirmation and a critique of the character's heroic antics and the commodification of the protagonist's own narrative (starts and ends with the movie rebooting itself).…

"How do you think the public's tastes towards horror change in relation to what's in the news? In the way that monster movies were influenced by the nuclear arms race, do you think that 'torture porn' became relevant after Abu Ghraib and Guantanamo Bay? What do you see audiences being anxious about for the rest of this decade?"

"I think that horror films have a very direct relationship to the time in which they're made. The films that really strike…

Some loose ideas (as the film itself has):

-Kaufman did it again..... and again and again.

-I don’t know if it was because I’m not in its wavelength, but I have never seen a film so tailor made for people like David Ehrlich or the entirety of Film Twitter.

-So cold, so awkward, so fucking misguided and full of itself. Like if Lynch was stripped of his humanity, or watching an even more arrogant and less playful Godard. Or that…