Those of you who know me are probably aware of the fact that I’m a massive Batman fan. I grew up watching the animated series, dressing up, and reading stories about Batman. So naturally one of my favorite villains, if not my favorite, has been the Joker. Completely devoid of morality or any sense of human decency, the Joker causes chaos and mayhem wherever he goes, pissing off Batman and driving him ever closer to the edge. One of the reasons I think the Joker makes such a good villain is that he has no redeeming qualities whatsoever. He is just this being of pure evil that has no regard for any of his actions and how they affect people.
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Lately, there has been this trend in horror movies where they feel the need to clarify why they’re scary. But what the writers, directors, and producers don’t seem to understand, is that the same rule applies to horror and comedy—if you have to explain it, you are probably doing it wrong.
I must admit, when I finished watching Quentin Tarantino’s ninth film, Once Upon A Time in Hollywood, I really didn’t know what to think. I walked away with some satisfaction, but an even more dominant sense of confusion. But upon doing some research, everything changed, and I realized that Once Upon a Time in Hollywood is easily one of Tarantino’s most brilliant films yet, and something close to a masterpiece.
If you were to tell me 4 years ago that Jordan Peele, co-star of a sketch comedy show, who made ridiculously funny jokes and satire, could make a truly scary movie that would completely screw with us, I would have laughed in your face.
Yet a new contender for Wiseau’s title has risen from whatever Tartarean pit produces these delusional movie makers—and his name is Neil Breen.
The MCU finally has a female-led film, and she is indomitable and indispensable
It was a Saturday in late July, and I was far too sick to go outside to get the farmer’s tan I had been promising myself since winter. With yet another shitty Jurassic Park sequel hitting the theaters, I figured I would watch the decent original for the first time since I was young enough to actually know the names of the film’s unwitting, dinosaurian villains. I quickly realized that the film was essentially a rehashing of Mary Shelley’s Frankenstein: a one-dimensional warning that what we “ought” and “can” do aren’t exactly one in the same.