• Moonfall



    This review may contain spoilers. I can handle the truth.

    The whole secret premise of Independence Day: Resurgence was to actually use it to set up what Roland Emmerich clearly wanted to make: a giant space opera where humans joined one side of an intergalactic war. Obviously that didn't work out, in part because Resurgence was one of the worst pieces of garbage in recent memory. Since that he did Midway, which was also a passion project of sorts and put him in touch with Chinese investors that contributed here.…

  • Inglourious Basterds

    Inglourious Basterds


    It’s All True

  • The French Dispatch

    The French Dispatch


    A film about depth beyond the surface. Anderson's films almost always appear in two dimensions to us, so what is apparent throughout is how often the film seems to push further in or out within the frame. Layered surfaces are literally pulled back to reveal something in and out. Temporal strategies are employed throughout to contextualize art in ways otherwise inexpressible. An aside of (violent?) sexual rapture requires moving closer in to the audience to break the spell of presentation.…

  • Licorice Pizza

    Licorice Pizza

    This review may contain spoilers. I can handle the truth.

    What was so fascinating was being 45 minutes into and being like "I have no idea where this is going at all." Especially having these big movie stars come in for something and in like 2 or 3 scenes, and literally disappearing. The running metaphor is probably the most curious: keep hustling, keep moving, the last thing you can do is slow down [or stop without gas]. Nothing goes really anywhere, but it's thus like the more accurate version of…

  • Red Notice

    Red Notice

    There are more shows and films to watch than ever before. So why does it feel so hard to find something good? Turns out this is just another effect of Hollywood's exploitation of labor and its poor business practices in the Streaming Revolution. Today I'm on "The Politics of Everything," a podcast from The New Republic, discussing why streaming made Hollywood Suck more than ever.

  • Black Widow

    Black Widow

    No I did not watch this. But I'm over at IGN this week with some quick analysis of the recent lawsuit begun by Ms. Johansson over this film's theatrical release and the future of streaming. A teaser:

    "This will lead to a tough question for fans: Do you see the Marvel Cinematic Universe as belonging to the studio and its underlying intellectual property, or its creators that inhabit and make these roles iconic in the first place? In our digital…

  • Ready Player One

    Ready Player One

    "Skeptics will say that independent filmmakers will just hustle, as they always have. But that becomes harder when digital distribution — and the need to access these primary platforms to make any profit — strangles the industry. Giants such as Netflix are positioned to control which films get made and how, without necessarily following the preferences of consumers.

    But antitrust offers a solution. For more than a century, the U.S. has used antitrust laws to break up or curb monopolies…

  • Private Hell 36

    Private Hell 36

    Wanted to shout out my new article in Film History, which explores the demise of Ida Lupino's company The Filmakers and how it essentially would be the first step to the return of a conglomerate style vertically integrated Hollywood after United States v. Paramount (1948). Throughout the article, I look at how entrepreneurs have exploited the desires of creative independence by artists, and connect it to practices that occur today at companies like Netflix, Amazon, and Apple.

    You can read the article by signing up for a free JSTOR account, or otherwise please contact me elsewhere.

  • L for Leisure

    L for Leisure


    The End of History is only the beginning. The definition of graduate life—the most “thinking” profession—defined entirely outside of its labor, though inexplicably tied to it. Instead, a heightened sense of bodies, time, space. Interrogations on sex and materialism are suddenly forbidden pleasure. “Are you ready?” Vibes have never been better.

  • Wonder Woman 1984

    Wonder Woman 1984

    I wrote about WarnerMedia, its panicked conglomerate (and investors), and why streaming might be the future of cinema but might end up killing media production as we know it.

  • The Masque of the Red Death

    The Masque of the Red Death


    The cruelty is the point.

  • Convoy



    Occupy the Open Road