Shots were placed strategically, playing P.I.M.P. on rotation filled the house with dread and the dog tore up his scenes. The lead played it one-sided which gave away the outcome. There was no Bette Davis conniver in her spirit. The film never strays from repeating the same story from different angles. It becomes exhausting to sit through. It needed to give the audience a break from the same subject. The clues fell so easily on the writer's lap that no surprises were forthcoming. They coerced the kid to pick a side but the director didn't. 22-Mar-2024

The Batman is the only character that suits up. How lonely for him. He's always the freak. The support enact realistic iterations of characters that lit up Batman's mythology to absolutely no effect. The Riddler is a demented teen who was brought up by an unfunny father who worked the mines. The riddles were blah. There is no Riddler without a tight body suit, a tight body and demented cynicism. Daddy Farrell wasted a lot of time in makeup, creating art out of a role that doesn't belong. He is not penguin. I didn't see any top hats, monocles or bullet umbrellas. Michelle Pfeiffer's reign as the best film Catwoman cannot be extinguished. Zoe is an everyday gorgeous girl not a cat. Her cowl is just as cheap and unintelligible as I expected. Her lack of meow hurts. Commissioner Gordon was a lackey. Everything was eeeeewww and he was always waiting for Batman to finish things up for him. Daddy Turturro knew exactly what the director wanted and gave it to us. Alfred and Bruce's interaction was rude. The parental bond was cold. Why hire an Aunt Harriet if she's not going to be an Aunt Harriet? That might have been fun. Oops. Sorry. Fun not allowed. The Twins were cute. Robert Pattinson is the glue you want to stick to because he makes you ponder how his beautifully broken humanity can create life from something he hates. I saw love in Zoe's face when she looked at him. I saw panty dropping aloofness register from his. Batman's narration doesn't mesh with toxic revenge. The moments he celebrated were my cringe. This isn't Batman. He doesn't laud himself or others. He's a lonely motherfucker that hates the world because he lost mommy and daddy to crime and got stuck in a mansion with a pervy butler. Batman's detective work failed from a lack of gadget magic. Yeah! Rich angry fucks love gadgets. Matt Reeves strikes potent pictures but was entrapped by a franchise that is petrified of its origins. The man/woman who gives us comic book Batman with realistic choices will become King of The World. What's the point of hiding in the shadows if everyone can hear you? 18-Apr-2022

There is no dog in sight. Teen with effeminate ways grabs the attention of the town bully and gets a crush on him. Son is subjected to alpha humiliation that gives him a hard-on which makes mother heartbroken yet keeps boy obsessed with tempting the savage. She marries the bully's brother and moves into the bully's home where he finishes her son off. Cumberbatch has no idea what a cowboy is. He jangles and jingles with exaggerated sounds of the west and comical highwaters but only his butt stood out. His pronunciation of "fatso" held no effect because he didn't know what the fuck it was. It's not a fact, it's a genial insult. His slow drawl compensates for an accent with no attachment to history. He is miscast because the safety of the participants prevails great art. No one is going to take a chance on a toxic male presence for reality's sake. Rick from The Walking Dead would have made a savage cowboy. Jane Campion is obsessed with certain keys of the piano and noises that no one else finds comforting. Kirsten Dunst would have given an award worthy performance if someone had written her one. Her character is scattered and listless. Hiring a tall boy doesn't diminish the film going Brokeback with a child. The film may not consummate it but we're not stupid. Jane Campion spends so much time lingering that the thought is lost. 06-Dec-2021

Frustration is as suspenseful as the time allotted to it. It overstays. Woman in cryogenic state awakens from it with loss of oxygen, no memory, involuntary skills and a computer that accepts calls. Melanie Laurent was determined to grip our attention and she succeeded. The AI was sexily low key. The film needed to widen itself and have her deal with what was out there. It's too much of one thing. Two adventures would have killed it. The twists didn't curl because they were far-fetched. I would have taken the sedative offered 10 minutes in. 18-May-2021

Teen lesbian leaving for school, has her life upended when Siri takes over the world and her dorky family is in charge of saving it. The adventures rely on coincidence, loud family squabbles, pet abuse, girl empowerment, gay robots and swirly pops to the brain. The voices don't humanize or endear themselves to us. Does Michael Rianda really think that he sounds like a cute little boy? It ends like every new animation whose heart beats like a girl. Go, girls! Do whatever the fuck you want! 06-May-2021

It's about repetition. People like myself have a tolerance for it. My mother kept me isolated like a special demon child that would wreck havoc onto the world if unleashed so repetition was my savior. I could visit safe lands (suburbs) inhabited by future friends (white people) and foretold accomplishments that never happened. The film is about repetition and it never stops. If the why hadn't kept me posted I would have skipped the nightmare. The clarification made sense, its' the what that didn't. 18-Aug-2020

Strangers on a Train stop at Fatal Attraction. Carol Lynley is a Peter Pan wet dream that never relents. She scares children with harpoon guns, she brawls with pet cats and she threatens old people with off-color gossip, death fascinations and frequent visits. Her mental health is homicidal. Ms. Lynley unbinds from daddy adoration and shakes her personal hate towards everyone. The daddies have expiration dates and are being coerced into reclaiming #1 status or lose thoughts of ever having a "good time,"again. Once an unknown pixie enters a married man's hotel room with her nightie on, he's fucked. The tribute is soaped up and spread out, the stunts are hilarious and the actors don't lose a beat. It stings and entertains, like mexican candy. 29-Jul-2020

Bubble couple are misled into a hellish suburban child rearing nightmare after house shopping. The setting is rife with panic and exasperation which neither characters or the presentation take advantage of. The characters don't react like real people and the story wants no resolution. Phones don't exist, no one attempts to test the gadgets in the house, time passes and the majors look the same, young "Sheldon" is triumphantly maddening, Eisenberg spends too much time digging and Poots rimming. It's about nothing. 26-Jul-2020

Robbie is missing the lilt and the energy that would whip Harley Quinn into a showpiece. The women in charge plaster the screen with cartoon abandon, avoid psychoanalyzing themselves and express no vulnerability that would compel a unique perspective. The film lacks a heart. It's like a man directed it. 13-Jun-2020

I feel about jewelry like others feel about watermelons.

The film consisted of many genres, high broiling, at improbable levels. Sandler steadies the flow, not allowing the top to blow off and steering the steam back into action. Talking over each other annoys, the pitch was trembly, the support were emblems, the coincidences were easy to spot and the finale was extensive. It zapped my brain. 28-May-2020

Boy suffers the loss of his mom, who dies in an explosion, but gains a piece of priceless art. Sarah Paulson has a moment as a bimbo and Nic adds an elegant presence to an adoptive mom but the characters have no foundation for any actor to stem from. The boy, in particular, acts as the scene needs, not as his character would. Ansel achieves a spark because he's trying to understand it as much as we are. It's a hard sell because the mystery doesn't amount to a life altering choice, it just is. A sweet sentiment with absolutely no sugar. 26-May-2020

The adult actors cannot fulfill the innocence and vibrance of the youngsters who established it. They diminish the investment in a fretful conclusion. Skarsgard is a sure thing but Muschietti's insistence in piling disconnected scares that belong to a Freddy Krueger franchise sequel, shoves his monster icon status to the shadows. The mumbo was a jumble, the Spielberg didn't fit and the sap broke the vine. 23-Apr-2020