During my high school years, I had often made an effort to hide the fact that I was queer from many of my peers – even my closest friends and family members. After coming out of the closet, I found myself within a greater state of freedom and yet even some of my biggest fears were also more realized too. I was always worried about what people would be saying to me, given as I had often been living under a conservative environment, and even been made to believe in – even if I never felt most comfortable with what I would be made to say about the world around me. This already feels most fitting for me to talk about as I talk about Boy Erased, because of the very fears that I know conversion therapy would be placing upon many LGBTQ+ individuals all across the world. Which makes talking about Boy Erased especially complicated because there’s another stigma that comes by that is also triggered by the concept of a church-funded conversion therapy. So among many reasons I wanted to see Boy Erased was because of what I hoped it would make the general public understand about what conversion therapy does to people like myself.
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It already seems as if we’re getting cinematic universes after another at this rate that stretch outside the likes of Marvel and DC, for now we also have Legendary’s MonsterVerse and now Universal is chiming in by reviving classic horror movie icons for the Dark Universe. To say they’ve started things off interestingly is one thing, because I’m still struggling with trying to deconstruct what it is that I’m really feeling about The Mummy right after having seen it because it only seems like this new cinematic universe will probably not go the way it was planned to be; and yet somehow that’s a part of why The Mummy only resulted in such a baffling experience. I was far too busy laughing at the stupidity of where it was going to the point I couldn’t say I was ever finding myself getting bored, yet at the same time that’s a part of why it’s difficult enough for me to even say it allows the Dark Universe to show promise.
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Another time capsule in a sense it goes through the glory of classic Hollywood film-noir, but if something else had come about in order to allow Curtis Hanson’s L.A. Confidential to stand apart not merely as a tribute, it takes one through an exhibit but understands its display at heart, lives in its glory – emulates a mood like the artifacts up for show it could merely have been one in itself. At its heart there is a great police procedural drama but its background is something that carries something all the more mesmerizing. It’s delightfully classical Hollywood in a 90’s manner, for a distinct blend of eras only gave away a timely feeling.
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An on-the-spot impression left from Michael Mann’s The Insider doesn’t leave it out to be my favourite of Mann’s films (he’s done many which I find to be quite superior) but knowing what Mann is an expert with, it is still a strong footing from the great filmmaker. While it definitely contains touches that would indicate weaknesses that are strange coming from Michael Mann, there are many elements to The Insider indicative of strength, for what he leaves behind is a truly riveting piece of work as can always be expected from the great filmmaker’s very best work. It flops a little bit then and there, but it’s strong enough to warrant a watch or two. Continue reading →
One cannot review Shane Black’s The Nice Guys without saying the term at least once, so it shall be said right here: nice. I’m a fan of Shane Black for the most part (although I greatly dislike Iron Man 3) and knowing what he can perform when experimenting with neo-noir and comedy in Kiss Kiss Bang Bang, it seemed he would head back to said roots with The Nice Guys. It was everything I would have expected it to be, and at that, I had quite the blast watching The Nice Guys. I’d already hold trust in Shane Black when it comes to writing buddy cop comedies since it seems what he’s able to present just feels so vibrant in all the glory shining on the screen. Continue reading →