In my article about Corruption of the audience I observed the talent of Luca Guadagnino in this regard. I was mostly talking about his film Bones and All where he managed to humanize cannibalism. But I think with his 2025 picture After the Hunt he is finally attempting the hardest challenge yet.
Let's get this out of the way: Guillermo del Toro knows how to make a movie. The man is a fucking genius. And yet it seems apart from just being technically proficient, he is also a master of making corruption of the audience emotionally satisfying. Let me explain.
My Neighbor Adolf is an Israeli, English language film about an old Jew living in Argentina, who got a new neighbor, who has a striking resemblance to Adolf Hitler. And it is about the paranoid obsession of this man with his neighbor.
I lust for a death, but my wish will never come to fruition. Even when I'll die, even when all my corporeal parts turn to dust and are scattered throughout the winds, the impact I've made on the world won't disappear, I still have existed. My place in the world, however be it insignificant, is undeniable.
If you ever read my reviews of films like Ballerina or Weapons or stuff like that, you know that I'm the kind of guy who should very much enjoy the bullshit that Eli Roth put into the trailer of his new movie Ice Cream Man that was just released into cinema. But you can also notice that it isn't a review. I have not seen Ice Cream Man and I will never see it. This is an article about why.
There's a lot of explosions, a plentiful amount of destruction, a grand amount of military, both in the air, on the ground and in the water. All the things you could ask for. And the Toho miniatures are incredibly detailed, as always. The scrupulous effort put into constructing them, to just be destroyed for a single shot never ceases to amaze me.
"Listen" is the message of Steven Spielberg's 2026's alien picture Disclosure Day. Why would Spielberg do this specific movie, about this specific subject matter? What should we listen to? What is the Disclosure of the Disclosure Day?
The 1933 film itself is not too special. For its time, there's a lot to laud. Comparing what Peter Jackson would do later, there's night and day. I do not mean the special effects, which are exceptional.
In 2019 on the Cannes film festival director Nicolas Winding Refn ( the director of the 2013 film Only God Forgives ) released episodes 4 and 5 of his ( then ) new multi-episode picture Too Old To Die Young. Episode 5 titled "The Fool" contains a car chase scene. Some argue it is one of the most romantic car chases in cinematic history. The joke is, that the car chase is set to a romantic Barry Manilow's 1974 hit "Mandy", making the juxtaposition rather hilarious in nature. But given the ass-born theory specialist that I am, I must suggest an interesting twist to this whole ordeal. During the principal photography of the first episode of Too Old To Die Young another film-maker Panos Cosmatos released a film, strangely similar in style to whatever Refn is doing. And his film was called Mandy. We can theorize that maybe Refn responded, in his strange way, recognizing the stylistic similarities, so to speak.
Quentin Tarantino told numerous times that the two places which gave the strongest reactions to his 2009 film Inglourious Basterds were Berlin and Tel Aviv. Why? Why reactions? Well... prior to Inglourious Basterds films about the subject of conflict between Jews and Nazis in World War II were largely serious pieces of cinema. Think Schindler's List. But as I pointed out in my review of Schindler's List, there was a considerable amount of effort on the part of Steven Spielberg to make the movie actually watchable. Tarantino with Inglourious Basterds made a movie that is not merely watchable, but outright enjoyable. He made a movie about this conflict where the audience are allowed to laugh. Taika Waititi's 2019 film Jojo Rabbit takes this premise and dials it to 11.
There are 2 types of rebellious code-era film-makers: You have people like Alfred Hitchcock who's career is based on walking on the very edge of the censorship rules, and then not knowing what to do when these rules are lifted with the introduction of the MPAA rating system. And you have people like Stanley Kubrick who makes fucking Lolita under the code and then rejoices when the rules are lifted and makes fucking A Clockwork Orange. Yet, the question still stands: WTF is A Clockwork Orange?
If you have seen Kick-Ass from 2010, you know that the biggest and most important element of the movie is... Wait... I just realized. It's the beginning of the review and it will be in all of the previews with links to it, and stuff, and I still want you to click onto the damn thing. So the most important element in the movie is not...
Lunatics! is a Open-Movie project by Rosalyn Hunter and Terry Hancock. I was following their socials ( mainly their Peertube account ) for quite some time now. And today, about an hour ago they released an unfinished version of episode one. Why does it matter? Well, they are working on it, if I understand correctly, since 2003, ( based on this video ). This unfinished episode is, therefor, 23 years in the making. My Moria's Race short-film with its 3.5 years is nothing in comparison.
I have a fear about my current movie project that is not entirely unfounded. If everything works out as it should and I get to the point of pre-production, I might need to hire a good lawyer. The script has major roles for children, but due to the child-labor laws, the money for such roles is paid to the parents and not the children themselves. I want to come up with a way to make it so the kids are the ones that control the money. Otherwise I fear, the parents will steal it from them. Kind of like what we see in the 1999 film Magnolia by Paul Thomas Anderson.