The iconic Bad Boys are back in “Ride or Die,” this time, it seems things haven’t gotten any less chaotic. We open with a classic scene: Mike Lowrey pushing the pedal to the metal and a familiar voice (Marcus Burnett, no doubt) hollering in the passenger seat to slow down. Been there, done that, right?
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The concept of “In A Violent Nature” poses an interesting question: What if a classic slasher horror took place almost exclusively from the killer’s perspective? The possibilities are fascinating, no doubt, and countless great stories could be told. However, after a relatively brief 90-minute foray into this concept, one might have second thoughts.
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One could confess that the fabric and integrity of DC comic media are currently in the midst of a change as the keys to the kingdom are now in the grip of Director James Gunn, Co-CEO with partner Peter Safran, who both have been working countless hours to achieve a fresh, organic take on the loveable blue boy scout, with a release date slated for July 11, 2025, during the self-apparent “Summer of Superman.”
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Do you miss the good old days when you hung out with friends, sipping Coke, eating pizza, and enjoying classic movies and shows like “Twilight,” “The Vampire Diaries,” “Hannah Montana,” “Final Destination,” “American Pie,” etc.? Well, this one is for those classic vibes!
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As someone who never ventured far into horror movies, I recently found myself drawn to the genre after experiencing the chills of “The Nun” and “Abigail” on the big screen.
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It’s been about five years since A24 distributed Ari Aster’s daylight horror masterpiece, “Midsommar.” The film stars Florence Pugh as Dani, a grad student reeling from a recent tragedy. She accompanies her boyfriend (Jack Reynor) to Hälsingland, home to their friend Pelle (Vilhelm Blomgren) and his small, closed community, which grows more disturbing and deadly by the day.
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How do you even make such a film? It’s not just about the performances, cinematography, or world-building; it’s about the energy that makes all the difference. Action films are forever cinema, but something about George Miller’s universe makes me want to revisit it repeatedly.
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I had never seen a Hayao Miyazaki film, and when I heard about “The Boy and the Heron,” I was quite intrigued. The talk was everywhere.
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The brilliance behind the “Tales of Star Wars” side chapters is that they feel like simple novellas, bound together by creative animation, impeccable writing, and focus on ensuring to fill in the blanks throughout the long, glorious canvas that the IP of Star Wars is forever embraced as in this present day and age.
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Demand and supply are at the core of his narrative. While there is art in him, it leans more towards commerce because he performs for his audience.
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