Let’s skip to the bottom of the page, so I am not accused of burying the lede: WandaVision is the most creative and innovative thing the MCU has given us and is, currently, one of the best programs currently on television. The show, created by Jac Shaeffer, is a baffling and insane combination of humor, nostalgia, a little sci-fi, a pinch of a thriller, and about a thousand other things. Both Elizabeth Olsen and Kathryn Hahn deserve Emmys for the work that they’re doing and if this is the leadoff hitter for the Marvel/Disney+ television relationship, I look forward to seeing what’s going to come next.
With their two hit shows, this and a little thing you may have heard of called The Mandalorian, Disney+ has shown that they are not just around for nostalgia or so that my wife can put on a childhood favorite to help her fall asleep; they are trying to create content just as good as any of the streaming services or networks. And while The Mandalorian is probably the show I would rather watch, I think WandaVision (at least so far) is probably the better show.
Sitting in her log cabin and throwing another log on the fire (although it’s June), a quarantined Taylor Swift looks out her window and sees, chiseled in stone, the all too famous monument which is the Mount Rushmore of current pop music. Swift sees her own face, and why wouldn’t she? She smiles as she thinks about all of her amazing accomplishments. Sure, her fans would say she may not have as many Grammys as she should, but the proof is in the proverbial pudding: Taylor Swift sells records.
As she looks at the other faces carved into rock, Swift cannot help but think of her relationship with every member on the mount. Next to her is Beyoncé, the undeniable queen of this century. Yet, the relationship between Taylor and the true Child of Destiny has never been contentious; truly, game has recognized game. To Beyoncé’s right is Drake, a person who has had a similar career arc to Swift. Each dominated their original genre until pop music had no choice but to give them the respect they deserved. Next to Drake is an interesting situation, as construction crews are fervently dynamiting Kanye West’s face off this hallowed monument.
Taylor allows herself a brief smile before turning away from her window, heading to her music room where her piano and guitar sat, and began to get to work.
With movie theaters closed, many studios have decided to release current-run movies out for streaming and download. I caught up with the newest romantic comedy available on Hulu.
If living in the time of COVID-19 has taught us anything, it is that time is, truly, a construct. All it took was a sledgehammer to people’s everyday routines to have them completely unsure of what clocks and calendars even mean. We have gone from the age of, “I hate Mondays!” to “Is it even Monday?” to “Dude… what even IS Monday?” And we did it in the span of about four weeks.
Remarkably, Palm Springs is the perfect movie for this time in our society.
With movie theaters closed, many studios have decided to release current-run movies out for streaming and download. I caught up with the second film from comedian/writer/director Jon Stewart
When Jon Stewart’s career is long gone, he will be known for two things: comedy and politics. During his run on The Daily Show, Stewart redefined what political humor and satire could mean to a populous. Young voters trusted him, a fake newsman, more than actual news anchors. So much of this was because of his passion: he cared not just about crafting the best possible joke, but the best possible argument.
It’s why my hopes for Irresistable, Stewart’s second film as a writer/director, were so high. It’s also why I was so disappointed by the final product: a scattershot bleh of a film which spends most of its’ time feeling lost and never finding out what it’s trying to be or who its’ characters are.
With movie theaters closed, many studios have decided to release current-run movies out for streaming and download. I caught up with Blumhouse Productions’ latest film.
This might be giving the review away, but I’m just gonna lead off with this: for all of the people who furious about Craig Zobel’s The Hunt, specifically those upset with it’s premise of violence against conservatives, y’all done fucked up. Instead of trying to get the film banned (it had been shelved of it’s August 2019 date), you should have just let it come out into theaters, where it would have not done well, and then you could have claimed victory of the liberal elites trying to push their wishful thinking down your throats… or whatever.
And The Hunt would have failed. But not for it’s politics. It’s just not all that great.
With movie theaters closed, many studios have decided to release current-run movies out for streaming and download. I caught up with Pixar’s 22nd film.
Pixar has always excelled at two different film structures. The first is when they bring out the magnificent in the mundane: toys that come to life when no one is watching, a world existing entirely of cars, a restaurant which gets the help from a rat.
The second type of structure, when Pixar brings the mundane to the magnificent, is what drives the concept of Onward, it’s latest film which is just a delight and a wonderful film to gather the family around a television to check out.
At a cursory glance, Birds Of Prey (and the Fantabulous Emancipation of One Harley Quinn) has a lot going for it, besides the exhausting title. It is the second DCEU to feature a female lead and the second film in DC Comic’s rocky film history to have a female director (Cathy Yan). Margot Robbie reprises her role as Harley Quinn, and she was one of the few positives of the very not-good Suicide Squad. Most importantly, this film takes place in Gotham City and features absolutely zero nipples on a Batman costume.
Growing up reading Batman comics as a kid in the 1980’s, I witnessed the evolution of this iconic villain from the earliest versions inspired by “The Man Who Laughs” to Ceasar Romaro’s slapstick antics as the “Clown Prince of Crime,” to the more twisted and deranged murderous psychopath that is the Joker of modern day. Todd Phillips gives fans of the character everything they could’ve asked for in an origin story for The Joker.
With the release of Todd Phillip’s highly anticipated Joker, Fancy Boys David Vox Mullen & Matt Drufke decided to go back and take a peak at what the Detective Comics Films Universe (DCFU) has given us in the last six years. These films have had mixed results, both in the box office and in critical acclaim. The boys roll up their sleeves, straighten their capes, and dive in.
This is the period in the cinematic year when studios stop sending us their blockbusters (how they make their money) and get ready to start sending us their Oscar bait (how they feel good about themselves). Both now, and in the spring when the same thing happens in reverse order, can be a feast or famine for a film that the studio doesn’t know exactly how well it could do. Sometimes, a film can find the right audience and become a massive and unlikely hit. More likely, a film can get lost and not find the audience it deserves.
I hope The Farewell finds the audience that it deserves, because it’s one of the best movies of the year.