I couldn’t tell you the “rules” of the New World, nor why humans like the Hunter are capable of occupying any part of it; I couldn’t tell you who any of these characters are in relation to the game’s or the narrative’s own mythos, because the writing is incredibly sparse; really, I couldn’t tell you anything else about this, and to a fair degree, neither can the film. Everything in the film exists as an extreme – bare-bones structure or…
The amount of silver-tongued shit-talking going on here is downright Shakespearean. Like, you can't tell me that if the Bard was alive in the early '90s that he wouldn't be writing dialogue about fragile male egos, socioeconomic struggles, innuendoes, and "Yo Mama" jokes!
I forget how physical of a performer Snipes can be, particularly with his comedy. It contrasts well with his breakneck switches to drama, too, making Sydney's need for code-switching all the more evident, but not blatantly so (which itself contrasts with Billy's earnest but otherwise bumbling character).
Good dialogue; good basketball action; good film!
"I'm alone. I am not ... lonely."
I just know there will be people whose only takeaway from this will be "Men Go To Therapy Challenge", which I mean sure, I guess ... but isn't that extremely obvious from the get-go? Isn't that already implied?
These men are well-oiled machines – craftsmen that have finely tuned their work down to every infinitesimal detail – and to do that they've sacrificed their capacity for humanity. They don't feel anything, because they…
people out here applauding big animation studios for offering piecemeal bits of lgbtq+ representation nowadays, whereas back in 2000 DreamWorks put a bisexual polyamorous relationship center-stage in their film and at the time received barely so much as a peep of praise smdh