In light of the successful revivals of intellectual properties (IPs) like Star Wars (theatrical releases [1977–2019]; expanded as The Mandalorian [2019-] and other shows on Disney+), The Karate Kid (theatrical releases [1984, 1986, 1989]; expanded with Cobra Kai [2019-] on YouTube Premium and later on Netflix), and Lost in Space (original broadcast television series [1965-1968]; … Continue reading
In my struggles to define the different audiovisual styles of various films, including and especially the diegetic minutiae of the worlds in which their narratives inhabit, I stumbled across numerous articles, forums, and reactionary podcasts discussing the numerous “punk” aesthetics of fictional words in different art forms, including but not limited to novels, comic books, … Continue reading
A fellow blogger‘s preliminary review of the pilot episode of The Mandalorian (2019-????), as well as discussions of the contemporary Walt Disney era Star Wars (2015, 2016, 2017, 2018, 2019) films by Red Letter Media, prompted this question: Is the Star Wars franchise more “Space Western” or “Space Opera?” If those hybridized genre amalgamations sound weird … Continue reading
A prominent feature of my cinephilia is my affection for two seemingly unrelated film genres: The action movie and the film musical. The key word in the previous sentence is “seemingly,” because while action and musical films may attract different audiences and imply disparate narrative tones, the core of their appeal and their overarching visual … Continue reading
Live-action reboots of famous animated titles are not a revolutionary idea in the Hollywood studio system, but mainstream audiences have recognized a significant increase in their production, which coincided with the rise of intellectual property (IP) remakes, reboots, and re-adaptations more generally. I have, in essence, given up complaining about Tinsel Town’s lack of artistic … Continue reading
When reviewing movies, television shows, mini-series, etc., I am conscientious of the fact I repeat several criticisms across many projects. Feature-length films in particular (~1.5-2.5 hours, on average), I feel, struggle with the “right” amount of storytelling to fit into a “proper” running time; while exceptions of long, purposefully meandering films like Gone with the … Continue reading
In case readers haven’t noticed, I no longer review feature-length documentaries on this site. I may reference a well known documentary filmmaker from time to time (e.g. Werner Herzog, Ken Burns, etc.) or cite particular documentary filmmaking styles (e.g. cinema verite, direct cinema, observational or “fly-on-the-wall” visual approaches, etc.) as they relate to popular narrative … Continue reading
As both a celebration of my 500th(!) post on this website and as a reaction to numerous criticisms of the widespread “movie-review format,” today I shall analyze what I perceive are the major types of biases that corrupt viewers’ interpretation and enjoyment of films. I published my 500th essay last month, yet never found the … Continue reading
Directed by: J. J. Abrams || Produced by: Kathleen Kennedy, J. J. Abrams, Michelle Rejwan Screenplay by: J. J. Abrams, Chris Terrio || Starring: Carrie Fisher, Mark Hamill, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Anthony Daniels, Naomi Ackie, Domhnall Gleeson, Richard E. Grant, Lupita Nyong’o, Keri Russell, Joonas Suotamo, Kelly Marie Tran, Ian … Continue reading
Several years ago, I wrote about recurring problems in mainstream filmmaking that are a constant source of irritation for cinephiles like me. This burgeoning “series” of blog essays is thematically related to my Things You Like That I Don’t (TYLTID) posts, in a way, an expansive yet not exhaustive list of cinematic annoyances that reduce … Continue reading
