DEADPOOL is a smart-ass, hard-R super hero revenge movie for the 14 year old boy in every man, woman and child. The feature directing debut of FX artist Tim Miller (who designed the opening credits for Fincher’s THE GIRL WITH THE DRAGON TATTOO) has show-offy digital camera moves, fourth-wall-breaking narration, meta and self-referential humor, frequent jokes about dildos and other things going up butts, gun fetishism, jerking off, juvenile homophobic name-calling like “cockgobbler,” and is convinced that it’s hilarious to know the names of different gross sex acts and talk about doing them with old ladies. Sounds exactly like a Neveldine/Taylor style headache. But I really enjoyed it.
I saw commenters here predicting I would hate DEADPOOL like I did KICK-ASS. I understand the comparison, but here’s why I think it’s different: it has a different personality. Both are trying to push buttons with foul-mouthed costumed characters going overboard with the violence and seeming real proud of themselves for it, but to me KICK-ASS seems like it’s trying to shock and outrage some hypothetical prudes and squares that would never watch the movie anyway, while DEADPOOL seems like it’s trying to win everybody over with its obnoxious charm. There are tons of childish jokes in the movie that didn’t make me laugh, but they felt less like jokes failing and more like me smiling and shaking my head at a dipshit friend trying to make me uncomfortable to amuse himself. And the X-Men seem to feel kind of the same. He’s basically a bad guy but they keep going easy on him because they want him to be a good guy. (read the rest of this shit…)
BROOKLYN is my best-picture-nominee-completist viewing for this year. When the nominations were announced the only ones I hadn’t seen were 
Thank you for indulging me these last few months as I went through all 44 years of George Lucas productions, from the one he made when he was 27 (THX 1138) to the one he made when he was 70 (STRANGE MAGIC). As you know, I’m interested in how Lucas created possibly the most beloved thing in pop culture history (the original Star Wars trilogy) and then became nerd culture’s biggest pariah when he came back to the series later in his career. The Star Wars phenomenon (both its dark side and light side) is so blindingly powerful that it eclipses everything else he’s ever been associated with. I thought it would be valuable to look at his filmography but with Star Wars removed from the equation.
A great historical epic could be made about the Tuskegee airmen, the all black squadron of American fighter pilots in WWII. That’s what George Lucas thought back in ’88 when he started developing RED TAILS. He put together a script that he compared to 
ANOMALISA is a sad, sometimes funny story about loneliness and petty, ugly human nature. If I told you it had some bizarre, seemingly unfilmable premise then that would all add up to tell you it was a Charlie Kaufman film, but it actually doesn’t have that. It’s just about a guy who travels to Cincinatti to speak at a convention and the night he spends at a hotel. Nothing crazy. It’s mostly very realistic, a frank look at relationships between men and women. It’s animated, though.
Knock knock. Who’s there? Two young girls that say they’re looking for some party and their phone is dead and Keanu Reeves lets them in. Two young girls that say they’re looking for some party and their phone is dead and Keanu Reeves lets them in who? Two young girls that say they’re looking for some party and their phone is dead and Keanu Reeves lets them in and at first it seems innocent but then they keep flirting with him and he keeps trying to be good but then they get naked and throw themselves at him and he puts up a good fight but eventually the boner seizes power. And then things get bad.
