Check my latest twitter account: ThatJakePC (let's see if this one lasts!)
A spineless nerd who takes a backseat to his own story until he gets to play armchair Napoleon/Home Alone using all his military history reading. Having found his confidence from getting laid and setting a bunch of traps, he walks through the aftermath howling with laughter at his brilliance until he sees all the bodies his creativeness has left behind. Another classic Hu heroine emerges in a whirl of steely looks and vicious lunges, acquiescing to partnering with our protagonist…
I remain unconvinced by most of its emotional backbone, which is more about the usual IP nostalgia than its mild critique of militaristic indifference to expendable service members, but this is so much fun I imagine my rating will lift the second I can see this again. A dramatic improvement on Tony Scott's worst film.
The great tragedy of Kevin Feige is that, beyond raking in a mountain of cash as the head of Marvel Studios, he truly wants to be seen as an impresario of artists. The recent dust-up caused by Martin Scorsese staring holes through Disney's stunt-casting of noteworthy emerging filmmakers to lend clout to a method of filmmaking dictated by studio notes and franchise bible supervisors punctured this self-delusion and prompted a wave of pathetic self-defensiveness in which the CEO was called…
As Tarantino understood, King Kong can be read as a metaphor for the Black experience in America, of white civilization’s simultaneous fascination with, fear and exploitation of Africa and its natural and human resources. Dear Evan Hansen suggests that it can also be read simply as an allegory for what happens when a star Broadway attraction is unleashed upon the general public who can only react with revulsion and terror.
You’ve already heard (and probably made) all of the jokes…