Glorious (2022) - Movie Review

A man comes face-to-face with a demigod. Well, as face-to-face as you can get to a being whose mere presence would drive the man mad. What seemed like a chance encounter was in fact ordained by fate, for the demigod has a tremendous favour to ask of the man. A favour that could mean saving the entire universe, or dooming it at the hands of an even greater God. Now, have all of this take place in a disgusting truck stop restroom, and have the man (Ryan Kwanten) be a viciously hungover man depressed over a recent break-up, and you have the plot for this absolute gem of a film.

Marmaduke (2022) - Movie Review

Because there are only so many spaces for me to watch movies in December, I’ve tried to be careful with the ones I pick for review. This year has involved less of me actively seeking bad movies to watch; not saying I haven’t gone after them on purpose at all in 2022, just that I’ve done less of it. This will be an exception, though, as this is primarily the result of morbid curiosity on my part as to how this could be the third-lowest rated film of 2022 on Letterboxd (beneath the 365 Days sequels), as well as meeting my ‘bitching about talking animal movies’ quota for the year. From the director of the film version of Spawn… seriously… here's Marmaduke.

Chip 'n Dale: Rescue Rangers (2022) - Movie Review

Along with being a certified cinematic classic, and one of my personal favourite films, Who Framed Roger Rabbit? has become quite influential in how modern tentpole cinema is marketed nowadays. From Ready Player One to Ralph Breaks The Internet, right down to Avengers: Endgame, the big studios have been banking on productions that exist primarily for crossover potential between the different properties that they own. Except, while its position as an intercompany crossover is certainly part of the appeal (seeing Bugs Bunny and Mickey Mouse on-screen together still carries a certain childish thrill to it even today), Who Framed Roger Rabbit? was about much more than just the crossovers. Up to this point, it seemed like it would be one of many Hollywood successes where all the wrong lessons were taken as to why it was successful, just so modern studios can try (and repeatedly fail) to recapture that magic. Well, until this film, that is.

Being The Ricardos (2021) - Movie Review

A little over a year after his previous feature, and Aaron Sorkin is already back at it with another directorial effort. Only this one is sticking much closer to his own background in television than his last two films, with a biopic on one of the greatest sitcom couples in American history in Lucille Ball and Desi Arnaz. I once again find myself needing to admit my lack of background knowledge, as I haven’t seen much from any of Lucille’s shows (save for that one conveyor belt gag, which is still one of the greatest sitcoms moments ever in my book), but then again, I didn’t know all that much about Steve Jobs, Molly Bloom, or Abbie Hoffman, and that didn’t stop me from liking Sorkin’s depictions of those people. But while this has Sorkin still doing what he does best, the effect is significantly dampened this time around.

Palm Springs (2020) - Movie Review

Oh dear, it’s another time loop movie. And I’ve already used up basically every remotely useful way I can introduce these movies; I can’t even go full meta and acknowledge this constant stream of time loop movies itself feels like I’m stuck in a time loop, because I’ve already done that too. These past six years since Edge Of Tomorrow has seen a lot of filmmakers try their hand at this, with both good and bad results, but quite frankly, I’m just tired of it all. It’s been done. The chances of something coming along that can add a fresh spin to the idea is growing thinner by the day. It's part of the reason why I wasn't exactly looking forward to this, regardless of how it turns out... and yet it's also the reason why this is such a blast of fresh air.