So... this is a Dark Tower movie right? Not only is there a picture from Stephen King's saga, but I'd argue that the monsters coming through a "door" at least qualifies this as being in the same universe like M. Night Shyamalan's Split is in the same world as Unbreakable. There's little else that's blatantly connected, but I couldn't help but think how ingenious the movie world would be if there was a secret Dark Tower franchise building to this…
Despite finding NASCAR to be one of the most pedestrian hobbies out there, I am finding myself intrigued by car movies of the past. This is especially true when they're used to literally forward the story, as is the case with this banal premise that is pretty much The Running Man meets some political allegory that I'm too lazy to think about at this moment. Even then, it's fascinating to think of what life in a pre-Mad Max era was.…
When approaching an older musical (or film for that matter), it's hard to not just fall into the "Yes, But." Category. To appreciate classic cinema is to overlook various ideals that have since become dated and look embarrassing. There's art beneath these ideas and to tear away the issues is to remove the artist's intentions. Recently, I watched Carousel, which was such an offensive attempt to turn a sexist male into a compassionate protagonist (his big revelation? Coming back to…
I saw it at an advanced screening (supposedly "the first audience"). I was chosen to be part of the focus group after and when asked whether the film was Excellent, Very Good, or Good, I put down Good. When the curator asked us to raise our hands for these individual selections, I was the only one who raised his hand for Good, making me the lowest rated person there.
It was quite an experience because the issue with Good is that you take no fault in it, yet there isn't anything to praise either, which made me being singled out all the more interesting.