I find it annoying how I have to care about this franchise now just because 4 is one of Craven’s best films. Doubt I would’ve made it out for 5CREAM in theaters otherwise. And there’s more I could say by reading the new series entry closely, I took copious notes and it kept me occupied. But I worry I’ll miss the forest for the trees if I look at it that carefully. Something about buying into another SCREAM, one which…
At times Hosoda can be broad, yet the specifics of his characters feel real and observed; spans of YA animé familiarity haven’t managed to dull a careful eye. Befitting his visual approach, the clean emotional lines are filled with delicate moods and texture. MIRAI’s bumbling father feels sadly real, as does the mother’s accumulated frustration with him, and while a harsher film might dig deeper into their dysfunction, Hosoda is generous enough to find a way out for his beleaguered…
"I hate myself
I hate myself
I hate myself
For loving you"
The text people are searching for to decode this bizarre film is Hiroki Azuma's critical theory book Otaku: Japan's Database Animals. I first heard of the book through McKenzie Wark, who, following Azuma, posited that Japan had begun grappling with post-modernity several decades earlier than the rest of the world. This I think is true, because what began in Japan can be seen emerging in the United States…
From the zero-G post-cinematics of its first shot, a digital tableau of Superman impaled upon Doomsday’s spear-tipped arm, ZACK SNYDER’S JUSTICE LEAGUE promises a cinema whose massive expense can’t help but create something new. Just what that new thing is, I’m not sure anyone can say yet. Money seems an abstraction in talk of this film; fair enough, there’s plenty else to focus on, but a lot of capital is at work here too, thrown together hastily in…