Disney+ for those who can't get enough franchise!

by Nathaniel R

Disney, the corporation that will one day have a complete monopoly of the entertainment business, made lots of Disney+ announcements this week. Gizmodo has the details on how much their streaming service will be like Netflix. If you haven't been playing along they've announced at least eight scripted episodic streaming series thus far though we don't really know how far these are from being realities but for the first one...

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Watch at Home: On the Basis of "Destroyer"

by Nathaniel R

Links go to our reviews or interviews

New Blu-Ray / DVDs
• Mirai - an Oscar nominated beauty from 
• The Mule -Clint Eastwood's 37th (!!!) feature
• On the Basis of Sex -Failed Oscar bait
• Vice - Inexplicably successful Oscar bait but not-so successful in theaters. It was the second lowest grosser among the Best Pictures globally (only Roma behind it) and second least well reviewed (only Bohemian Rhapsody behind it). 
• Welcome to Marwen - Robert Zemeckis crash and burned with this visual fx curiousity about a man who deals with trauma by creating dolls of his war experience. It grossed just $12.7 globally...

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Review: Brie Larson's "Unicorn Store"

by Anne Marie

With Captain Marvel crossing the $300million mark at the box office, Netflix has capitalized on Brie Larson's booming popularity to acquire her 2017 directorial debut. Unicorn Store is a coming-of-age comedy that happens to also star buddy and co-Avenger Samuel L. Jackson. And while Larson fans will enjoy watching the actress glitter (sometimes literally) across the screen for an untidy 92 minutes, ultimately the star's freshman effort comes off as more style than subsance.

Written by Samantha McIntyre (Married), Unicorn Store tells the self-consciously magical story of a twenty-something failed artist named Kit (Larson), who gets a second chance when she's offered the chance to fulfill her childhood dream...of owning a unicorn. After she fulfills some obligations, of course. The premise is purposely absurd, and for the most part, Larson adeptly navigates between the more magically bizarre scenes of straw-dying and stable-building, and the more quotidian (and creepy) B plot wherein Larson’s character tries to prove herself at a temp job with a predatory boss...

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Streaming Roulette April: The Dirt, Monster House, and Now Apocalypse

As is our practice we've selected a couple handful of titles and frozen the films at utterly random moments without cheating (whatever comes up comes up!) for this quick preview. At the bottom of the page, check out full listings for Netflix, Hulu, Amazon Prime, and HBO for April 2019. And please do let us know if you're dying to discuss any of the films. Maybe we'll select one to write up? Okay, let's go...

Holy shit. Barnabas!

Now Apocalypse, Season 1 (2019) on Hulu (with Starz add-on)
Pictured there are the four leads of Now Apocalypse all of them gorgeous / funny / frequently naked in the first TV series from Gregg Araki of 1990s new queer cinema fame. Araki's preoccupations haven't changed much (or at all!)  since the 1990s. A twinkish lead with floppy dark hair? Check. Constant drug use? Sex. Filthy language and explicitly sexual humor? Check. A preoccupation with supernatural kinds of rape? Check. A dumb but impossibly sweet and sincere straight hunk? Check. Impossibly hip but somewhat chilly woman with black hair? Check. Sexual fluidity for every character even those with a pronounced label or gay or straight? Check. Slutty female best friend with most of the best lines? Check. End of the world fantasies and paranoia? Check. Older predatory queers in abundance? Check. Aliens or supernatural occurences? Of course! The show is way too repetitive in the early episodes (lots of flashbacks to previous episodes which is weird for streaming shows since you've literally usually just been watching what you're now flashing back to) but about halfway into the season the short episodes start  to come together in fun ways, including a hilarious and much smarter way of folding back in on itself with an in-series webseries, wherein the characters are reenacting the early episodes and playing themselves badly or being played unflatteringly by actors hired to play them. 

She never blinked during the interview.

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"London Fields" and Bad Movies as Palette Cleansers

Please welcome new contributor Tony Ruggio...

Have you ever wondered why Film Twitter is more fickle than critics? If you spend a reasonable amount of time there you’ll find deep pockets of hate among many non-professional critics for critical darlings as varied as Birdman, La La Land, even Black Panther. Critics, often dismissed as snobs or "the elite", actually appear to enjoy more films per year than other journos, pundits, and regular Joe or Jane cinephiles on social media. Critics are the only animals in our film bubble ecosystem who are forced to watch everything, even the bad ones. Others might skip the latest Adam Sandler romp or Netflix original dump, but critics (many of them anyway) see it all and I'm here to argue that it gives them perspective. Bad movies have a place, and can serve an under-discussed purpose, and that purpose is encouraging a greater appreciation for what the Inarritus and Andersons of the world are putting out there.

Art is subjective, yes, but most of the time we know a BAD movie when we see it. On the heels of SXSW, I was drowning in good cinema. Between Captain Marvel the week before, Jordan Peele’s near-masterpiece Us, and a few little gems I could find nowhere else, the festival had given so much yet deprived me of a proper palette cleanser. London Fields was it, a gonzo film noir so inept and ill-advised that I was left more than a little awestruck...

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Doc Corner: Orson Welles x2

By Glenn Dunks

It has been suggested that Mark Cousins is a very unique brand of filmmaker. In that regard, he makes a perfect filmmaker for a project about another very unique brand of filmmaker: Orson Welles. I have not seen Cousins’ much-loved The Story of Film: An Odyssey nor any of his other film-centric documentaries so I can’t speak to how his latest fits into his oeuvre, but I do know that I was pleasantly surprised to discover that The Eyes of Orson Welles was not a typical bio-doc about Welles.

Instead, it takes the novel approach of using his work in another medium, his love of drawing and painting, to approach his cinematic output and his character as a man more broadly...

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