There are so many bigger injustices in the world, but this still makes me really fucking mad:
Warner is turning down offers because it wants to make more profit than it would get from just taking the tax write-off. Everybody who’s seen it says this is a good fuckin’ movie, which no one has said about any Looney Tunes movie (though Dante’s Back in Action was pretty good). I sure hope someone on the post/production team saves a copy and it surfaces unofficially.
I’m in favor of this and hope they are so successful that musician biopic shared universe movies become the new superhero movies and dominate the box office for the next 20 years. I want them to go so deep into the barrel that Universal bankrupts itself by commiting to a seven picture Mudhoney arc
this type of thing is not really my cup of tea, but i’m posting mainly bc it is an interesting example of what feels to me like a pretty big trend in movies and stuff lately, about people who are obsessed with a haunted tv show
i swear there was another thing not to long ago with almost the exact same premise? Like a bunch of people fixated on a show they watched as kids but which no one else seems to remember? it may have been a segment in a horror anthology movie or even just a “Creepypasta” (or perhaps a horror movie that originated as a creepypasta?)
There’s also Brigsby Bear which I know is different but I feel is thematically similar
but its really bothering me that i can’t think of this other thing
I also feel that this trailer was a bit tacky seeming. And I was at one point excited for this film, it’s Jane Schoenbrun’s follow up to We’re All Going to the World’s Fair. Recently I’ve kind of soured on that movie a little bit, or started to feel uneasy about the praise it gets at any rate. So this trailer kind of just reinforces some of those feelings I’ve been experiencing.
There’s like a sensibility I do not share that some of my friends just a couple years young have towards fiction about creepypasta, which also defines her film career so far. WAGWF seemed a bit exceptional when I first saw it a couple years ago, but I’ve reconsidered that a little after seeing more and more stuff like it that has been around before that film or popped up since then.
The Favourite:
Weisz, Stone or Coleman, depends on the day/mood for who you’d put in a call for career defining Performance.
Wild visuals that have been mentioned aplenty, and rightfully so I concede.
Not my period, granted, but immaculate performances of the leading ladies,