After twelve years, the time has come to say goodbye to Patrick Wilson and Vera Farmiga’s iconic portrayals of the controversial “exorcists” Ed and Lorraine Warren. And what better way to bid adieu to their performances than in a melancholic finale that… sits with the protagonists as they contemplate whether they should embark on the next chapter of their lives??? Damn,
Read MoreRian Johnson is known for subverting audience expectations and rejecting traditional narrative structures, which is why I’m always drawn to his work, even if some of them weren’t as acclaimed as others. I will still be the first to defend and praise Star Wars: The Last Jedi as the best film of 2017, one of the decade’s crowning achievements, and the best Star Wars movie
Read MoreIn an era where mainstream action films strive for perfection in their aesthetics and intricate fight choreographies, genre artist Timo Tjahjanto stands out among the pack as one who strives for imperfection. The clumsier, messier, and more imperfect the action scene is, the more cathartic, violent, and ultimately engaging the set piece will be for the viewer. None of it is
Read MoreAs has been the case for its previous horror movies, NEON has raked up interesting marketing campaigns for some of their more terrifying titles, such as Osgood Perkins’ Longlegs, The Monkey, and Tilman Singer’s Cuckoo. The studio wants as many people as possible watching in cinemas knowing as little as possible about the movie itself. That’s why you’ll see many ads
Read MoreIf you didn’t think you had enough of The Karate Kid after six incredible seasons of Cobra Kai, think again! Sony is bringing the iconic franchise back to the big screen in Karate Kid: Legends, a legacy sequel that wants to capitalize on the success of both iterations of the film & television series (the universe of the 1984 film created
Read More$320 million. Three hundred and twenty million dollars. That is the budget of Anthony and Joe Russo’s latest post-Avengers: Endgame blockbuster, The Electric State, an adaptation of Simon Stålenhag’s graphic novel of the same name. $320 million for a direct-to-streaming piece of “content” that will never see the light of day in a cinema beyond promotional screenings, nor will it ever
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