John’s Horror Corner: Chromeskull: Laid to Rest 2 (2011), a grisly sequel deserving of a part 3!
MY CALL: Not as good as part 1, but still a gory, gooey, sticky, gross slasher delight that remains mean to the bone. MORE MOVIES LIKE Laid to Rest 2: For more ultra-mean and ultra-gory slasher fare, be sure you saw the original Laid to Rest (2009), The Hills Run Red (2009), Hatchet I-IV (2006-2017) and Terrifier 1-2 (2016, 2022).
Director and writer Robert Hall (Fear Clinic, Laid to Rest) picks this sequel up with the very scene that ended Laid to Rest (2009), as our nameless final girl is driven from the gas station with Tommy (Thomas Dekker; A Nightmare on Elm Street, Village of the Damned, Laid to Rest). Our amnesiac final girl from part 1 (Bobbi Sue Luther) is replaced with a new actress (Allison Kyler; Maneater, Toolbox Murders 2, Prom Night).
Preston (Brian Austin Green), a detective investigating the crime scene, discovers Chromeskull’s camera and… Chromeskull (Nick Principe; Xenophobia, Laid to Rest) is not dead! Preston then tracks down our final girl and reveals his sinister motives when he slices her up on camera.
The cadaverous gore remains pleasurably graphic and intense. The first victim boasts some seriously macabre imagery, and the surgery scene (saving Chromeskull) is really grotesque, with a post-op face that is quite the spectacle!
Apparently Preston is involved in “something” that affords him access to a Swiss bank account, a really swanky office decorated in “Chromeskull” masks, and an assistant Spann (Danielle Harris; Hatchet II-IV, Halloween I-II, The Black Waters of Echo’s Pond). They work for Chromeskull.
Some disagreements in the chain of command create insurrection in this apparent “Chromeskull LLC.” This may add some complexity to the story (compared to part 1), but not in any manner that garners my favor. Frankly, I’d rather have some of my yet unanswered questions from part 1 addressed. But instead, I just have more questions. But you know what? As long as all the death scenes and gore effects remain flaming red hot, I’m not going to complain! I don’t mind that this steers away from the mysterious slasher and instead steers in the direction of Saw IV-VI (2009).
These movies really feature some truly inspired death scenes. The creativity behind these knife lacerations makes slashers exciting again. Knives get jammed and caught in some unexpected places, and their dislodging often entails the unfurling of large flaps of flesh revealing huge, gaping, sticky wounds. My favorite death scene may have been the one when a guy’s head is sheered vertically until the two halves flop in either direction. It was also a splendor when a victim’s throat (or entire neck) was minced to roast beef until the weight of its body beneath yanked itself decapitated.
This sequel was definitely not as wow-tastic as the original. But I really enjoyed it still! The gore is persists turned up to an “11” with incredibly creative implementation of that gore and the death scenes themselves.
We end the film with the knowledge that Chromeskull and his organization still function. Unfortunately, there never came about a part 3. With the recent success of the ultra-mean, ultra-gory Terrifier (2016, 2022) movies, I can only hope Chromeskull may likewise find his due resurrection.
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The Movies, Films and Flix Podcast – Episode 564: Wild Things, Trashy Thrillers, and Neve Campbell
You can download or stream the pod on Apple Podcasts, Tune In, Podbean, or Spreaker (or wherever you listen to podcasts…..we’re almost everywhere).
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Mark and Zanandi (@Zanandi on X) discuss the 1998 crime thriller Wild Things. Directed by John McNaughton, and starring Neve Campell, Denise Richards, Matt Dillon, Kevin Bacon, and several alligators, it’s one of the best trashy thrillers of the 1990s. In this episode, they also discuss pool fights, peeping animals, and the best trashy thrillers of the 1990s. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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Bad Movie Tuesday: The Boogeyman (1980), a pretty lame but pretty fun to watch B-movie about a campy evil spirit in a mirror.
MY CALL: This silly, campy, extra bad movie is a perfect Bad Movie Tuesday. The death scenes occasionally don’t seem like they’d be fatal, we never properly understand what the evil entity even is, and the “rules” of this horror movie seem to develop and change scene by scene like even the writer never had a proper grasp on it. MORE MOVIES LIKE The Boogeyman: For more Boogeyman movies, try The Boogeyman (2023) and The Boogeyman (2005). Then move on to Candyman (1992), Jeepers Creepers 1-2 (2001, 2003), Darkness Falls (2003), The Babadook (2014), The Bye Bye Man (2017), which I find to be yet more fun and/or better and/or intense movies with much better “horror” backing their Boogeymen.
Growing up with their abusive harlot mother, Lacey (Suzanna Love; Boogeyman II, The Devonsville Terror) and Willy (Nicholas Love; Jennifer 8, Twin Peaks) were two traumatized kids. Young Willy murdered his mother’s horrible boyfriend as his kid sister watched. Needless to say, if their mother’s abusive boyfriend becomes a ghost, he’s gonna’ be a problem for these two.
Now adults, Willy is a mute farmhand and Lacey has a husband and child. They receive word that their mother, who they haven’t seen in twenty years, is dying and wishes to see them one last time. This brings about graphic, mildly sexualized nightmares in Lacey. Meanwhile, Willy seems to be violently triggered by sexuality, and both siblings seem to be having irrational responses to mirrors.
Dr. Warren (John Carradine; Evils of the Night, The Nesting, The Howling, The Sentinel, Buried Alive) advises that Lacey face her fear and revisit her childhood home, the origin of her trauma. At her mother’s house, a mirror is accidentally broken and some form of evil is somehow freed to wreak lame havoc on this movie. Shortly after it shatters, a young woman in the house is forced (I guess by an unseen force?) to stab herself in the throat with scissors in a rather dull death scene. And then her kid brother is I guess killed when a window seemingly softly drops down on his neck. Finally a medicine cabinet door bitch-slaps the remaining sibling—killing her!?!?! Yup. Death by medicine cabinet bitch slap. That’s a thing in this movie.
So the rules apparently are as follows: 1) mirrors are bad and bring out the worst in us, and 2) the presence of broken mirrors turns truly deadly. I’m glad we cleared up this very well-written concept in this garbage movie.
In the name of all things stupid, a piece of mirror flings itself to the floor where Lacey’s son steps on it. Mind you, this is now a different mirror back at Lacey’s house. It then sticks to the boy’s shoe (SOMEHOW) and he transports it to the lake behind their property. Then, while the boy is sitting by the lake fishing, the sun reflects off this piece of mirror on his shoe to an abandoned cabin on the other side of the lake, where some twentysomething couples are hanging out. We hear heavy breathing and see POV of I guess the murderous spirit of the mirrors as a knife telekinetically stabs a guy through the back of the head and out his mouth, which then “kiss stabs” his girlfriend with the aid of more telekinesis slamming her in the butt with the car door (into the deadly kiss) in a very dumb, but admittedly laughable “so bad it’s good” death scene.
Okay, let’s review the new additional rules. So apparently 3) the mirrors and their broken fragments are intelligent and self-ambulatory to some degree AND mirrors are connected like a phone network with other mirrors; 4) the glare reflection of the mirror counts as the presence of an evil mirror regarding the mirror’s evil, murderous influence; and 5) the Boogeyman of the mirror has the power of telekinesis and is a mouth-breathing panter. I guess this better explains the scissors death scene from earlier. And now with this heavy breathing, it finally feels like there is a poltergeist-boogeyman, whereas before this just felt like a bunch of haphazard supernatural effects.
After our incorporeal boogeyman sexually assaults Lacey, they call their local priest. More dead bodies (that we never saw killed) turn up, the boogeyman cuts the phone lines and possesses Lacey, the lighting turns green because “why not, Argento does it, right?”, and levitations and in-door windstorms ensue. The priest attempts a weak-ass exorcism and gets stabbed in the back with truly a dozen kitchen knives. It’s all so horrible and campy, but amusingly watchable for its tremendous faults.
In the end, they somehow explode a mirror by dropping it in a well on their farm, and everything seems to be fine again. Or is it? Oh, snap! It’s not okay. Cue heavy breathing sounds! At least we now know for the sequel, yes there’s actually a sequel to this craptastic bad movie, that 6) priests don’t work against evil mirrors, and 7) farm wells detonate evil mirrors BUT then the mirror respawns like a FPS videogame avatar to start killing again. And knowing’s half the battle, G. I. Joe!
This movie is bad. The death scenes occasionally don’t seem like they’d even be fatal, we never properly understand what the crap this evil entity even is, and the “rules” of this horror movie seem to develop and change scene by scene like even the writer never had a proper grasp on it. Director and co-writer Ulli Lommel (Boogeyman II, Zombie Nation, Return of the Boogeyman, The Tomb) clearly knows exactly how to make an effective Bad Movie Tuesday. So you may just expect future coverage of his sequel here on Movies, Films and Flix.
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John’s Horror Corner: The Boogeyman (2023), an enjoyable PG-13 “family therapy horror” with a shadow demon.
MY CALL: This would be better advertised as a jumpy “monster in the closet” type of “monster movie.” It’s fun, creepy, well-acted, and exciting once the monster is in play. Definitely not the “terrifying” film that was advertised, though. I’d call this a satisfying one-and-done, Friday night popcorn flick.
MORE MOVIES LIKE The Boogeyman: Maybe something like Shadow People (2012) or Cobweb (2023) for mature dread, or more like Mama (2013) or Lights Out (2016) for similar energy.
For more (and more intense) horror films about grief and dysfunctional family, consider Frailty (2001), The Uninvited (2009), The Babadook (2014), Goodnight Mommy (2014, 2022), Hereditary (2018), Midsommar (2019), The Lodge (2019) and Relic (2020).
Our opening introduces us to young characters’ apprehensive of the dark recesses of their closets. Recently bereft of her mother, Sadie Harper (Sophie Thatcher; Yellowjackets) has a tough time returning to school. As a therapist, her father Will (Chris Messina; Devil, I.S.S.) helps others with their fear, grief and guilt on a daily basis. Yet his greatest challenge is connecting to help his daughters.
An unexpected walk-in appointment to Will’s in-home practice, Lester (David Dastmalchian; Late Night with the Devil, The Belko Experiment) has recently lost his three children to something that he cannot explain very well. It’s something of a ‘shadow monster’ that comes and takes your children “when you’re not paying attention.” Lester comes to a tragic end compounding the trauma of the Harper family. We learn Lester’s monster attaches itself to vulnerable families and claims them one by one.
This “monster in the closet” emerges from the shadows as a very tangible creature to fear. Resembling a gangly-limbed demon of sorts, it swiftly skitters under the bed, hiding in shadows, rattling and slamming doors, even crawling on the ceiling. Sadie’s kid sister Sawyer (Vivien Lyra Blair; Bird Box) is stalked by this entity, and it toys with her, knocking on doors and imitating voices.
Yeah, PG-13 horror is generally much less intense than its R counterparts. And yeah, that means I’m usually in no rush to see them. But exceptions rise above. Movies like The Ring (2002), Mama (2013), Lights Out (2016), and now The Boogeyman stand out as solid, jumpy, creepy, tense installments to PG-13 horror—even if Boogeyman ranks below the aforementioned titles. The creature is legitimately off-putting and manifests from the darkness, skittering about to avoid the light. It’s definitely an engaging viewing experience.
The monster is fast, feral, and gives wild chase, making the movie quite energized at times. It lacks the dire dread of The Ring (2002), but it has its brief moments capturing some of the exciting flavor of A Quiet Place (2018). This is more like A Quite Place-LITE. But still fun. I’d say director Rob Savage (Dashcam, Host) is now three for three in the horror genre, even if this may be his lesser work.
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The Watchers (2024) – Review
Quick Thoughts – Grade – C – Directed Ishana Night Shyamalan, this adaptation of A.M. Shine’s 2022 novel never feels cohesive as there are multiple elements and twists that work against the flow of the supernatural thriller.
At first glance, The Watchers, a film about four people being trapped in a dense supernatural Irish forest, was the perfect property for Ishana Night Shyamalan to adapt into a feature length film. Ishana grew up watching her father trap people in places (Signs, Split, The Village, Lady in the Water, Old, Devil, Lady in the Water, Knock at the Cabin, The Visit, After Earth), so directing a film about four people becoming prisoners inside an isolated bunker surrounded by mysterious monsters is a smart idea. However, the film never really comes together because there’s no clear focus on a central theme. The movie looks good (1.85:1 aspect ratio gives the forest a nice height), and the performances from Dakota Fanning, Georgina Campbell (watch Barbarian – she is so good in it), Oliver Finnegan, and Olwen Fouéré (Mandy, Sea Fever – watch them too) are solid, but The Watchers never feels like a cohesive or focused endeavor.
The Watchers focuses on an American named Mina (Dakota Fanning), who lives in Galway and is struggling with demons from her past that will play an important part during the climax of the movie. She works at a pet shop and is tasked with delivering a sassy bird to its new owner in Belfast. On her journey, Mina gets lost and finds herself deep inside a dense forest that is home to monsters who live under the ground and come out at night. She miraculously finds safety inside a well-fortified shelter that has a mysterious two-way mirror covering an entire side of it. Inside the bunker, she meets Ciara (Campbell), Madeline (Fouéré), and Daniel (Finnegan), who have been trapped in the bunker for at least five months. Together, they forage for food during the daylight hours, and spend their nights being watched by the creatures outside their shelter. In a cheeky bit of irony, the only entertainment they have in their safehaven is a DVD copy of a cheesy reality dating show that they watch each night. Since it’s a Shyamalan family film, I don’t want to spoil any more of the plot because there are inevitable twists and turns that occur in the woods.
The biggest problem with the film is that Shyamalan can’t keep the narrative flowing smoothly – which grinds the movie to a halt several times. Thrillers are deceptively hard to write and direct because they rely on building tension that cannot be interrupted with a bad edit or misplaced scene. Successful thrillers draw audiences in and immerse them. Less-successful thrillers kill the suspense when the story isn’t focused or there are too many competing themes or characters. It’s a bit frustrating because if certain elements were combined (or dropped for the sake of pacing) The Watchers could’ve been wrangled into a fun high-concept thriller that takes place in a single location. Instead, Shyamalan splits up the action and turns a simple idea into something a little too complicated. As a first-time feature director she’s shown a lot of promise, and there’s no doubt she’ll learn from this and come back stronger with a tight script and focus for her next project.
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The Movies, Films and Flix Podcast – Episode 563 – Oppenheimer, Christopher Nolan and Cillian Murphy
You can download or stream the pod on Apple Podcasts, Tune In, Podbean, or Spreaker (or wherever you listen to podcasts…..we’re almost everywhere).
If you get a chance please make sure to review, rate and share. You are awesome.
Mark and Niall discuss the 2023 historical drama Oppenheimer. Directed by Christopher Nolan, and starring Cillian Murphy, Emily Blunt, Robert Downey Jr., and about 3,000 other excellent character actors, the Academy Award winning blockbuster is a technical marvel on every level. In this episode, they also talk about Christopherr Nolan’s filmography, Cillian Murphy’s hat, and excellent biopics. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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You can download or stream the pod on Apple Podcasts, Tune In, Podbean, or Spreaker (or wherever you listen to podcasts…..we’re almost everywhere).
If you get a chance please make sure to review, rate and share. You are awesome.
Mark and Nick share their Criterion Closet selections and pick three movies they’d love to see added to the Criterion collection. In this episode, they also talk about Criterion’s long history, DVD commentaries, and Swedish erotic dramas. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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Exhuma (2024) – Review
Quick Thoughts – B+ – Directed by K-occult master Jang Jae-hyun (The Priests, Svaha: The Sixth Finger), the wildly successful Exhuma is a solid example of slow burn storytelling that expertly blends South Korean history with gnarly action scenes involving people being ripped apart by ghosts.
While writing Exhuma during the pandemic, director and writer Jang Jae-hyun decided to write an entertaining film that turned away from safe options and focused on shamanism, feng shui and funerals. His idea to create a fun genre experience was successful as Exhuma is the highest grossing South Korean film of 2024 (so far) and has gained positive buzz all around the world. After pulling in $85 million, it joins the ranks of other successful South Korean horror films like Train to Busan, A Tale of Two Sisters, The Wailing and Dr. Cheon and the Lost Talisman. It’s been compared to The Wailing (listen to our pod episode about it!), but I’ve found the comparison to be lazy as Exhuma is a more mainstream experience that won’t punch your soul in the face and make you seek sunshine and fresh air to soothe your frazzled nerves. Exhuma has found success because it’s moderately scary, well-acted, and features a twisty plot that turns the screws on the likable characters and audience.
Exhuma Focuses on a feng-shui expert, an undertaker, and two young shaman exorcists who get in over their heads when they accept a job from a well-meaning businessman who wants to save his newborn son from a “Graves Call” curse that’s being perpetrated by an ancestor’s vengeful spirit. It’s an unusual job because it requires the digging up of a body located on the top of a sinister mountain near the North Korea border. At first, Kim Sang-deok (Choi Min-sik), a feng shui master and geomancer wants nothing to do with the gravesite because it’s’ clearly home to something horrible. However, he’s talked into completing the job by his mortician friend Yeong-geun (Yoo Hae-jin) and a pair of Shaman named Lee Hwa-rim (Kim Go-eun) and Yoon Bong-girl (Lee Do-hyun). After a successful ritual sees that coffin being lifted out of the grave without any horrible Raiders of the Lost Ark-esque catastrophes, a series of unfortunate events unfold and lead to more unfortunate events that force the group to solve the mystery before an ancient evil murders many people. I really don’t want to give away more of the plot because a big part of the fun is not knowing where everything is headed (and then researching South Korean history to fully understand what was happening). The most important thing is that the always incredible Choi Min-Sik (listen to our I Saw the Devil pod episode) is in the movie and he delivers a warm and likable performance that showcases his digging skills and ability to look believable while battling a giant ghost.
If you’re looking for an entertaining supernatural tale that blends jump scares, mysteries and South Korean history into a compelling story, I totally recommend that you check out Exhuma.
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The Movies, Films and Flix Podcast – Episode 561: The Social Network, David Fincher and Aaron Sorkin
You can download or stream the pod on Apple Podcasts, Tune In, Podbean, or Spreaker (or wherever you listen to podcasts…..we’re almost everywhere).
If you get a chance please make sure to review, rate and share. You are awesome.
Mark and Phil discuss the 2010 classic The Social Network. Directed by David Fincher, and starring Jesse Eisenberg, Andrew Garfield, Justin Timberlake and lots of Aaron Sorkin dialogue, the movie focuses on the creation of Facebook and all the lawsuits that came with it. In this episode, they also talk about Fincher’s filmography, excellent dialogue, and fictionalized true stories.
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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MFF Data – Ryan Gosling and his Jackets
Ryan Gosling loves jackets. Between Drive, Blade Runner 2049, Crazy, Stupid, Love, Blue Valentine, Lars and the Real Girl, The Nice Guys, and Barbie – he’s worn some iconic jackets in wildly different movies – and looked great in all of them. Between Gosling wearing five different jackets/coats/dusters in The Fall Guy (The Miami Vice jacket is an all-timer Gosling jacket) and Shea Serrano’s book about Gosling (A Real Human Being – It’s wonderful and I was lucky enough to help out with some research) I was inspired to rewatch his movies, pull the timestamps of all his jacket wearing and figure out if there is an ideal amount of Gosling jacket time.
Quick Notes
- I pulled the timestamps by finding scenes where he wears a jacket. It would’ve taken forever to only count his screen time, so I pulled the time of the entire scene. For instance, in Blade Runner 2049 Gosling wears his jacket during the attack on Deckard’s home scene. He isn’t always on screen, but he’s in the scene (if that makes sense).
- I included the hoodie from The United States of Leland because it’s like an extension of his character
- In Stay, he wears a suit coat type jacket to stay warm. I counted this as a jacket/coat.
- I’m very happy I scanned the montage scenes in Remember the Titans.
- Suit coat time wasn’t counted. I also didn’t count Gosling’s gym hoodie in The Big Short.
Gosling Jacket Stats
- Percentage of time Gosling wears a jacket in his 26 movies – 16.6%
Gosling’s most jacket heavy roles
- Blade Runner 2049 – 60%
- Drive – 53%
- The Gray Man – 45%
- The Believer – 44%
- The Slaughter Rule – 43%
Quick Note – The Fall Guy falls in this category. I just don’t have exact times.
Five Gosling Movies With the Least Amount of jacket wearing
- Song to Song – 1%
- First Man – 1%
- Remember the Titans – .05% – He wears a jacket in the hospital and during a montage scene
- Only God Forgives – 0%
- The Big Short – 0%
Gosling has been nominated for three acting Oscars
- Barbie, Half Nelson, La La Land – Average amount of jacket wearing time – 7%
Gosling has been in three films nominated for Best Picture
- La La Land, Barbie, The Big Short – Average amount of jacket wearing time – 4.6%
Average stats for his films with jacket wearing time of 50% or more
- Tomatometer – 91% – Highest average
- IMDb – 7.9 – Highest average
- Letterboxd – 4 – Highest average
- Worldwide Box Office – $169.5 million average
- Two Movies – Drive – Blade Runner 2049
With the inclusion of The Fall Guy, the numbers drop to 87.6% (RT), 7.7 (IMDb), and 3.86. They are still legit numbers.
40 – 49%
- Tomatometer – 67%
- IMDb – 6.5
- Letterboxd – 3
- Worldwide Box Office – NA – The Gray Man (Netflix) and Believer/The Slaughter Rule didn’t have wide releases
- Three Movies – The Gray Man, The Believer, The Slaughter Rule
30 – 39%
- Tomatometer – 81%
- IMDb – 7.3
- Letterboxd – 3.8
- Worldwide Box Office – $11.2 million
- One Movie – Lars and the Real Girl
20% – 29%
- Tomatometer – 67%
- IMDb – 7
- Letterboxd – 3.5.
- Worldwide Box Office – $47.1 million
- Three Movies – The Nice Guys, Stay, The Ides of March
10% – 19%
- Tomatometer – 66%
- IMDb – 7
- Letterboxd – 3.52
- Worldwide Box Office – $342 million (Barbie helps a lot)
- Five Movies – Murder by Numbers, Barbie, The Notebook, Fracture, Blue Valentine
Average stats for his films with jacket wearing time of less than 10%
- Tomatometer – 64%
- IMDb – 7
- Letterboxd – 3.45
- Worldwide Box Office – $93 million
- 12 Movies – Half Nelson, The United States of Leland, The Place Beyond the Pines, All Good Things, La La Land, Gangster Squad, Crazy, Stupid, Love, Song to Song, First Man, Remember the Titans, Only God Forgives, The Big Short
Overall Stats For Gosling’s 26 films (for reference)
- Tomatometer – 68%
- IMDb -7
- Letterboxd – 3.4
- Box office – $138 million
Ideal Amount of Jacket Wearing for Gosling – There are three percentage ranges to pick from.
50% or more – Between Blade Runner 2049 (amazing jacket) and Drive (iconic jacket), both movies feature him wearing super cool jackets for long periods of time. To pull this off the jackets have to feel organic and become almost a character. The only caveat is that he needs to be mostly silent, mortally wounded (or stabbed real good), and alone at the end.
- Drive and Blade Runner 2049 have the best critic/user score average, and the jacket in Drive is an all-timer jacket.
- Drive is his second all-around highest rated film (93% Tomatometer – 7.8 IMDb – 3.9 Letterboxd)
- Blade Runner 2049 is his third highest rated film (88% – 8 – 4.1)
7% – 12% – Half Nelson (7%), Blue Valentine (10%), Fracture (10%), Barbie (12%) and The Notebook (12%) fall in this range. They are some heavy hitters that feature excellent coats and iconic Gosling performances.
- Barbie and Half Nelson make up two of his three Oscar nominations.
- The Notebook won him the coveted MTV Best Kiss Award
- His first Oscar nomination was for Half Nelson
- Golden Globe nominated for Blue Valentine
- Barbie is his highest grossing film
2% – His “Emma Stone” trilogy (Crazy, Stupid, Love – Gangster Squad – La La Land) all feature him wearing a jacket for 2% of the film’s running time. It’s a fun coincidence.
- La La Land won Best Picture for about three seconds
- La La Land is second highest grossing film
- La La Land is his best all-around rated film (91- Tomatometer – 8 IMDb – 4.1 Metacritic)
Overall winner
If its directed by an auteur the 50%+ range is cool. BUT, he’s able to showcase more range in Barbie, Half Nelson, The Notebook, and Blue Valentine. It’s because of this that I’ll go for the 7% to 12% range.
Top five jackets
- Drive – The scorpion jacket works on several levels
- Blade Runner 2049 – It’s functional and cool looking
- Lars and the Real Girl – I love a good puffer jacket.
- The Place Beyond the Pines – The red jacket is wonderful and it improves upon his red jacket work in Murder by Numbers.
- Barbie – It’s big, bold and important to the plot
I hope you enjoyed this incredibly random data post. Make sure to buy Shea Serrano’s new book!
Movies, Films & Flix 