Very possible the best thing this movie gave us was the Friday the 13th game back in 2017.
Which, hot take, that game was the only asymmetrical survival game that truly understood what made that genre enjoyable and I blame Dead by Daylight’s obsession with making the genre a competitive sweat fest as a major reason for the genre’s downfall.
All things considered, it’s not entirely shocking the script is a mess. Takes some big emotional swings that don’t feel particularly earned and even I can it the presence of Wick himself is a bit shoehorned (despite giving us that great line from the random henchman).
Fortunately, Ana De Armas is so intensely committed to Eve Macarro that the savagery of her action is enough to keep even the messiest of scripts afloat. It also helps that the action still…
I’ve decided that the toad drug trip might be the funniest thing I’ve seen in years
There continues to be a complete undervaluing (arguably an active devaluing) of animation, but Trachtenberg & Company seems to understand its immense potential. Sequences and kills that simply could not exist in live-action exist within Killer of Killers. The gadgets are more twisted, the deaths more ferocious, and none of it coming at the expense of the storytelling.
Add it to the long list of live-action franchises that are better animated, because for some reason, Hollywood thinks it’s the reverse.
One day the game will end. The sun will set. The park will close. Sometimes you don’t even want to play. Other times it’s all you can think about. You used to pitch a 90 mph fastball, now you can only pitch the eephus. But just because it’s slowed down doesn’t mean it’s not worthy to throw. Every pitch matters.
Oozes with so much personality, largely thanks to the genre defining Englund performance, but Craven directs the hell out of the movie, pun intended. Really interesting to rewatch through a lens of religious guilt, I still don’t love the ending, but it’s always exciting to find new layers to unpack even after 40 odd some years since it’s release.
All that money Netflix spent on that embarrassing TUDUM event should have been used to market Lost in Starlight.
Obvious highlight from Cannes, few people can capture an honest tenderness and vulnerability between people like Trier.
There is one scene that was very inspired by classic Chan choreography, Ben Wang stumbling all over the place while beating people up, and I thought maybe there’s hope for this movie after all.
Suffers from a major identity crisis. Also, an awful soundtrack.