A mashup of everything that made Daniel Craig’s Bond work (a commitment to serialized elements, trying new things, emotion, his blue eyes) and a celebration of the James Bond mythos as a whole. It doesn’t lean as hard into the classic Bond tropes like Spectre did, nor does it try and reinvent much. It just finds a balance, adds a wrinkle, and stays the course.
The non-spoilery wrinkle No Time to Die adds is an emotional arc that forces JB towards being an ancillary character in his own movie, a fly in the ointment that is a connection between two major Forms of the 007 concept: the mad villain and the love interest. This Mr. Bond still receives the major send-off he deserves and takes center stage, but the wrinkle here fleshes other characters out at the expense of seeing Bond brood a bit more and, thus, makes this feel like a fittingly unique and substantial end for this iteration.
Or maybe they did this exact thing a billion years ago with Connery or something. I don’t know. My memories of Bond were tainted by Mike Myers as a child. It’s not my fault.
My VHS cover pull-quote: “Where do we go from here? James Bond will regenerate again, as he has for decades, and the argument over which actor acted best like this sad British murderer will continue until the heat death of the universe. And at the gates of the underworld, where we will all gather, a rider on a pale horse will tell us it was that dude George Lazenby. And we’ll be okay.”
A romantic dramedy in the guise of a modern dark antihero/superhero movie. Venom: Let There Be Carnage is what it is, and that’s okay. That’s beautiful, even. They took what worked about the first, namely two Tom Hardy boyz interacting with each other and figuring out their relationship, and just built the entire movie around it. Then they gave Woody Harrelson a silly red wig and slapped some CGI on him to transform him into 90s icon Carnage, and it all just kind of works in a fun, B-movie kind of way.
My mildly spoilery VHS cover pull-quote: “Exciting things are no doubt in store for the Venom character beyond the Sony Spideyverse, but I appreciate this little weird 90-minute corner of the superhero genre and hope it continues to do its own thing. Like Morbius? That’s going to be wild. He’s a living vampire and some filmgoers are going to confuse him with Owen Wilson’s character Mobius from Loki. What an odd treat that will be!”
Having limited experience with the Broadway show, this was pretty much my first real interaction with the story. One of the worst things I think I can say about it is that it doesn’t lean hard enough into being the dark comedy I wanted it to be. There are shades of World’s Greatest Dad and even The Killing of a Sacred Deer in this thing, and I think it could have had more ‘fun’ with that.
Other than that, though, while its general awareness of mental health feels very 2016 and there are genuine problems with the depiction, the overall message is an effective “Broadway positive” one and the journey of sadboy Evan, as flawed and downright yikes as it might be at times, resonated with the sadboy writing this VHS review (excuse me, sadboy novelist) at times.
My VHS cover pull-quote: “And yes, the Ben Platt being 27 playing a 17 year old thing. In middle and high school, I had a friend that I remember looking like he had two mortgages and a couple of kids in college. I loved him all the same, even though he looked like a 35 year old undercover cop. This may be my memory playing tricks on me a bit, but the point is that sometimes people–even high schoolers–just look old as fuck at 17. And that’s okay.
Ben Platt doesn’t even look that old in this, to be honest. Because if he looks old at 27, then I must look like a withered old crustyman at 32 and I can’t have that. I can still pass for 17. I will never age. I will never die.”
A gruesome, bonkers throwback to (or parody of?) old giallo films and, like, early 2000s tv movies caught with the juicy cinematic eye of James Wan. Or we could just call it James Wan’s Evil Dead 2. Or both! Or everything. It’s everything. It’s my everything. It’s a part of me now.
The plethora of ridiculous ideas, ripped directly from the dreams I have while experiencing sleep paralysis, vary in tone, genre, and even film in which it seemingly has any right to exist in. It is truly a raging psychokinetic romp that didn’t let Hollywood take that away from it, which I cannot help but respect (worship?). I hated adored this thing.
My VHS cover pull-quote: “Is this camp? Schlock? Camp Schlock? A John Wick horror curiosity? Comedy of the year? An exercise in trolling from the director of The Conjuring? It is all those things and nothing less.”
Card gambling and casinos function as a sort of purgatory for a man with “moral weight” in this darker and more timely than expected character study. A safe prison of his choosing, in which he can exist away from the cycles of reality like revenge and hate. Those cycles are just outside, though, scratching at the door. I’m trying very hard to write like Paul Schrader and I think I probably failed. Good movie, though.
My VHS cover pull-quote: “I learned a lot about card counting, blackjack, poker, torture, casino culture, and Abu Ghraib.”
Fathers. Sons. Dragons and Awkwafina, together again. This movie has it all, including some of the most kinetic and gorgeous hand to hand combat scenes that blow even The Winter Soldier out of the floating, mystic water. It feels like a thoughtful, bona fide martial arts film that just happens to be in the MCU. I was only left wanting more of the coordinated physicality and more of the characters.
My VHS cover pull-quote: “Cool, quick knife flips while in the middle of a fight are how you can tell if it’s a good MCU movie. So, my official MCU movie rankings are Everything Else, Shang Chi, Captain America: The Winter Soldier. I don’t make the rules.”
An effective, modern haunted house story that succeeds as both an exercise in the architecture of building dread and something of a meditation on sudden loss and the ensuing thoughts that plague those left behind. It is filled with so many interesting ideas, an agonizing and dark mystery to solve, and an incredible performance by Rebecca Hall. The corners of your home will never look the same again.
My VHS cover pull-quote: Though the genres are oh so different and The Night House is perhaps more aptly compared to Hereditary, the film also tackles similar themes as 2016’s Christine (also starring Hall), which was such a bummer of a real life drama based on a true event that The Night House, this grim and darkly spooky time at the movies, is so much more uplifting.
One of the best modern surreal gothic fairy tale ghost story musicals that I’ve ever seen. Now, I only really learned about Sparks through Edgar Wright’s fantastic documentary The Sparks Brothers, but I feel foolishly confident in saying that this film perfectly reflects the ethos and mission of the band Sparks in the narrative form.
Now I’ve also only really learned of Leos Carax’s movies, but I feel even more foolishly confident saying the movie is a perfect union of Carax’s avant garde French film formula and Sparks’ meta, proto-punk ideas.
My VHS cover pull-quote: “It kind of feels like a modern mutation of the Pinocchio story told from the tame, warped perspective of the fox and the cat. That might be a bit of a stretch, but I did recently watch 2020’s dark Pinocchio (which was wonderful) so I once again feel confident in making the comparison.”
A bloody, messy blast of a comic book movie that peppers in substantial emotional beats for these cannon fodder oddballs amidst all the carnage, chaos and wit. It feels like it’s pure James Gunn in a way that Guardians of the Galaxy can’t really approach. Both, however, share a common, simple thesis statement: the outcasts, the downtrodden, the misunderstood rats and the weasel things that have killed 27 children all have purpose and worth.
One thing I really appreciated, surprisingly, is the treatment of a character from the original Suicide Squad movie: Rick Flag, y’all!! Harley is always sort of core (and amazing) Harley from one movie to another, but Rick Flag gets to show an evolution of character from the 2016 film to this one. From wooden soldier to big damn hero who seems to have found a place among the outcasts he leads. While I went into the movie not caring about Flag living or dying, that changed substantially through the course of events. Beyond him, we are made to care about most of these these ‘losers’ that make it past the 20 minute mark, from Polka Dot Man to Ratcatcher 2, to even cosmic gumbo Starro the Conqueror.
My spoiler-filled VHS cover pull-quote:
“They killed my mate Captain Boomerang and, like a boomerang, I can only hope he comes back around somehow. I salute his noble severed arm, holding his boomerang high. All names are letters, dickhead!”
“This is not a prayer, but a swan’s song, the blasphemy done with intention,”
A work of self-discovery that evolves into one of spellbinding self-affirmation. Mehalick brings the reader with him on a path of rich confrontations with himself, a deity, family, music, etc., each piece either reveling in the traditions of form to firmly convey his perspective or outright exploding those traditions in the utmost punk style. Any veil between writer and narrator in these pieces feels especially thin, too, allowing readers a sort of comfortable access to the writer as he accepts, affirms, and meditates on his individual queerness. While it is an achingly personal work, it is also universal in its reflections. Readers are sure to find a bit of themselves in these stout pages, no matter who they may be.
My back cover pull-quote, tattered and folded underneath the seat of an El Camino: “Mehalick begins where many of the Final Fantasy video games end, fighting/addressing a God. In a bold twist to the JRPG formula, Melissa Etheridge’s Seminal 1993 Album Made of Two Overlapping Triangles Instead of One starts with that confrontation between man and supposed creator and then goes from there. This is cross medium conversation and intersectional genre discourse at its finest.”