Archive for Release Year: 2021
33 posts from 12 March 2021 to 02 March 2025.
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A modest proposal to serve man. This is an adaptation of a story by Fernando Pessoa, in his Alexander Search heteronyms.
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If a film is shot all over green screen greenery and fire, can it be considered an animation film? Does the pope shit in the woods?
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Mohamedou was brought to Gitmo in August 2002, and was only release the week before Trump was elected. He won the case that would set him free just as Obama was being elected. The wheels of justice move slowly, but can be greased by elections.
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NANOMACHINES, SON! Akira for the younger generation.
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Oh, the humanity. It oozes from the screen.
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Boyhood, without the boy. Burn my shadow away…
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An untranslatable avant-garde look at French mainstream society, Virgil-ed by a pop TV presenter. Brilliant, nobody ever done this before, magnificent.
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Lord of the Sands. One Shai-Hulud to rule them all, one Lisan al-Gaib to bind them.
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Paul Verhoeven does a simpler version of Elle, with added black plague. Another unnecessary addition is the “based on a real story” bullshit.
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A series of shorts, a simple excuse for Wes and friends to make fun of The New Yorker in France at the producers dime. Just like the story itself! The producers indulge him because they know they will have a masterpiece in the end. The pinnacle of artistic indulgence.
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A moderately entertaining affair, between the bitter lashing out at Warner Brothers for forcing their hand and making them release a fourth Matrix. To compensate, they reversed everything.
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Be careful what you wish for. There’s always a bigger fish, the conman becomes the mark.
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The opening says it all: a tracking shot of a modern subway station cuts seamlessly to the same subway in 1931 Berlin, right in the middle of an election campaign.
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I see the trappings of a good horror film, and totally agree with the message, but this tries to have its social justice cake and gore slasher scenes for the “ratings”. It feels disjointed.
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Locke and key, a similar concept. A bit more dynamic, more Apple product placement, but moderately enjoyable. Naomi Watts as a mom is still weird, I watched Mullholland Drive too long ago, it tainted her image for ever.
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John Wick meets Stranger Things, with Karen Gillian, with added killer escorting a child, like all modern fiction. This has much less action than John Wick, it’s more focused on the female side, makes it more balanced.
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Half horror drama, like a baby’s first The Ring, half buddy cop film, with a no-nonsense sassy black woman and a younger detective, being biblically chased by the CSI girl and the killer’s sister. Doesn’t really gel.
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The 2021 version. Yet another version of the same silly plot, with better actors and modern effects. Ironically, they must have reused a lot of the game itself, the latter versions are identical.
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Wait, another bloated superhero film with Harley Quinn and other people? Am I having Deja Vu? I’m just here for Ratcatcher, the weaksauce hero that saves the day.
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That’s no time to die, all right. Several decades too late. The complete anachronism of the whole thing is getting more and more preposterous. NANOMACHINES, SON!
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Another red Venom, yay. Haven’t seen the dozen of necessary Marvel shit to properly appreciate the references. Boring as fuck normal Marvel crap..
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Low rent pastiche of other, better sci-fi films, with a way bigger budget it deserved. So much combat, it never ends, relentless bottomless magazines.
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So this is another reboot, for the money. They got that right, there’s a Jill Sandwich joke in the first minutes.
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James Bond meets Starship Troopers. It’s a more political Austin Powers, ultra-reactionary.
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Sexually frustrated Sydney Sweeney stars in horny Rear Window, with two twists in the last minutes.
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Just another Stranger Things ripoff: kids in violent situations (including swearing), nostalgia for the 70’s, there’s no third element. Ethan Hawke might have lost a bet with Jason Blum and was forced into this.
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Ahh, what seems like The Truman Show turns into Wreck It Ralph for teenagers (with a Cyrano love story). Shame, it reached for the stars, but faltered towards the end.
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Fucking J Edgar, he’s always there in the background somewhere, scheming, always on the wrong side of history. Fred Hampton was a party leader at 21 years old, fucking hell.
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Oh lord, did they went full-meta? You never go full-meta. It’s just Wreck It Ralph for another megacorp, maybe the same one now?
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This is very beautifully shot and acted, but there’s an overall weirdness, it’s extremely thematic, not a straightforward story. Some enormous amounts of themes stuck in there.
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They pull a Terminator 2 and the bad guy is a good guy now. But it’s really about a little kid’s FAMILY, the biological murderous deadbeats, and the kind killer that raised the kid. After some twists and turns towards the end, she goes self-made orphan and chooses the old SEAL Team 6.
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Yet another victim of current events, this plot is absolutely mad. It was bad enough after the first Trump presidency, but after the second one, is just crazy. Why do even serious action films have to ape Marvel with shared universes, and post-credits scenes? Just do regular sequels, no need to tease so much!