To review Foundation, I must reveal my lack of foreknowledge. I’ve not read the books; I’ve heard amazing things and that they’re a seminal work of science fiction, but never ventured there myself. I probably should now: if they’re better than this show, they’re probably incredible.
Perhaps the most notable thing about Andor is how immediately it establishes itself as different from the usual Star Wars fare. What little I’ve seen of more recent Mandalorian projects suggests this isn’t an isolated affair, but it is to me.
I’m late to the party to review Thor: Love and Thunder. So late that I’ve been spoiled somewhat by consensus. Going in, I knew people didn’t like the goats and that the comedy was apparently overbearing.
Almost two years ago to the day, I reviewed Kid Cosmic. I said I wasn’t planning on continuing the show. Well, apparently, I lied. While eating dinner one day, I pulled it up and basically binged.
From the offset, I was onboard for She-Hulk. I’m not the most knowledgeable person when it comes to comics, but a lawyer who deals with the legal ramifications of superpowered shenanigans is a great premise.
We’re in a golden age of nerdy media. Every time I think we’ve hit the pinnacle of high-budget media adapting or embracing something once only for the nerdiest of the nerds, another trailer comes out.
The Tomorrow War has a fantastic premise, talented actors, and stellar effects, yet it never comes together properly. The enthusiasm for its own appeal wanes, and it becomes a shell of a movie, running on formula and tropes.
Trailers are their own unique pieces of art. Sometimes better than the movies/shows they go with. The time restraint forces creativity and efficiency. These five are some of the best I’ve seen lately.
40+ is a novella with a powerful hook but is hampered by a few things, including how short it is. It would be easy to imagine it expanded into a larger novel, detailing both the world as it was and how the change affected it.
The Hollow is a decent enough show mired by gimmick issues. The biggest one is its reliance on the “Mystery Box” model.
Spider-Man: No Way Home is the type of movie that could only exist in this new media environment. The draw is the spectacle of connecting reboots and pulling in actors to reprise long-gone roles.
Ghostbusters: Afterlife has several excellent moments, a great protagonist, and a heartfelt core, yet is underwhelming in a lot of ways. Those who watch it will remember it mainly for its fan service, and though that’s kind of the point—it’s not great we have a lot of movies made with that in mind.
