If you’re wondering why I haven’t posted anything in the last week, there’s a very good reason. I just spent five days at this year’s AFI Fest in Hollywood. Over the course of the festival, I took in an insane 15 movies, including 10 that have been submitted for the Oscar for International Feature. Needless to say, it was an absolute blast, but also exhausting, and I’ve been recovering ever since. Most of the films I saw either have a domestic release date scheduled or have a distributor, so one will be coming soon. I’ll review those entries either individually or in groups as we get closer to those public releases.
As such, I wasn’t able to see anything in the normal theatres last weekend, though apparently I didn’t miss much. Five Nights at Freddy’s won the weekend box office despite negative reviews (why does Blumhouse ruin everything good about horror?), and I can take a bit of a victory lap, because last month’s “Worst Trailer” winner, Freelance, has the dubious distinction of a 0% rating on Rotten Tomatoes as of this writing.
Still, just because I’m recovering from lost sleep doesn’t mean there’s not work to be done. We’re into November now, and while I spent last week with my eyes bulging over prestige fare, there’s still the requisite amount of shit to shovel in lieu of snow since I live on the west coast.
In fact, there’s a lot more than I would have thought possible, especially since studios are pulling even their awards bait off the schedule because the SAG strike is still ongoing. God forbid we get to see art without the dog and pony show of marketing plugs. Anyway, while there are a few films I’m looking forward to this month (as I’m writing this I’ve just come back from seeing The Holdovers; review to come but hint – it’s great!), there are way more that I’d say to avoid if you value your sanity. We’re actually breaking a record with this go-round, with an incredible 17 previews “earning” a spot in this month’s column, beating the previous record of 14 by a considerable margin. This one may never be topped, as there are entire months where there aren’t even 17 films TOTAL, much less that many that look like crap!
So what makes up this heaping helping of cinematic dung? Well, there’s the usual franchise schlock, along with some films that might end up being good but have questionable teasers that raise red flags. But really, the bulk of November’s dumpster fire falls into one of two categories. On the one hand, you have wannabe prestige fare that doesn’t pass the initial smell test no matter how hard the studios are banking on it getting them Oscars. On the other, we have some mind-bogglingly ill-advised Christmas movies. Don’t get me wrong. I love Christmas. Always have. It’s one of my favorite times of the year. But for this crop of holiday hopefuls? All I can say is, “Oof.”
We’ve got a ton of ground to cover, so I won’t waste any more time on the preamble. Welcome to this glut of garbage worthy of a family argument at your Thanksgiving dinner table. This is the November 2023 edition of “This Film is Not Yet Watchable!”
The Marsh King’s Daughter – November 3
One of the movies I saw at AFI Fest last week was the highly-anticipated comedy, American Fiction. I won’t give away too much, but it’s a satire about pandering, in this case when it comes to black people, with a focus on how well-meaning but disingenuous white people profess to want to amplify minority voices while still pigeonholing them into stereotypes of victimhood and suffering. It’s a tour de force, and I can’t wait to go into a full review here when it comes out next month.
Watching the trailer for The Marsh King’s Daughter, I kind of get a similar feeling. Don’t misunderstand, this is by no means a satire or in any way funny. Rather, it’s a symptom of the same disease of patronizing a demographic by reinforcing tired narratives and calling it fresh. In this case, it’s a “feminist” thriller where the lead (Daisy Ridley) was the victim of horrible abuse at the hands of her father (Ben Mendelsohn), who has escaped from prison and wants to “reclaim” her, for lack of a better word. Of course, in the name of “protecting her family,” because she’s got a daughter of her own, Ridley must confront her father, presumably with a cocked shotgun in her hands.
This is not feminism. Women aren’t a monolith of the abused, and standing up for oneself does not require firearms because law enforcement is incompetent. We’ve seen this false framing far too many times for it to be even worth mentioning anymore, and it’s got to stop. I’m all about feminism, but this is just yet another boring looking story where the woman’s strength and value are filtered through her pain at the hands of a man, and that well is dry. It’s lazy at best and insulting at worst, and you’re wasting two great actors in the process. Hard pass.
What Happens Later – November 3
Meg Ryan hasn’t acted in a film or directed since 2015’s Ithaca, which failed to impress critics or audiences. So what does she have in store for her long-awaited return? A half-assed remake of The Terminal for all intents and purposes.
Yes, I know that What Happens Later is actually based on a play, but the spirit is exactly the same. Two middle-aged exes (Ryan and David Duchovny) meet by chance at an airport in Alaska and get stranded by a snowstorm. With nowhere else to go, they rehash their relationship and realize they still have chemistry. Occasionally an intercom system interrupts and comments on events. Yawn. At least with The Terminal you had Tom Hanks’ undeniable charm and Stanley Tucci as a fun foil for the protagonist. This just feels like a waste, and it’s a shame because I like Meg Ryan and I miss seeing her on screen. But there has to have been a better way back in than this, right?
Right?
Helen’s Dead – November 3
Hey, do you like Knives Out? Me too! Let’s go watch that instead. I get the feeling we won’t be missing anything.
Also, dude, spoilers! What if I cared about Helen and thought she was a good character? I mean, I don’t. And she’s not. But what if?
At the Gates – November 3
You know what I like? A good thriller. You know what I also like? Movies where racist rich people get some much-needed comeuppance.
You know what I don’t like, though? When that comeuppance basically comes as a result of a kid getting a boner. Seriously, any semblance of thought or nuance in this story goes right out the window, along with any possibility of me connecting with the characters, when it just becomes about teenage lust.
Oh well. At least Miranda Otto’s getting regular work again.
The Marvels – November 10
Yeah, I said it. Come and get me.
Seriously, though, I’m basically done with the Marvel Cinematic Universe. It had a good run, and there are still a handful of titles (Blade and Deadpool 3) that I’m looking forward to down the line. But let’s face facts, the MCU is over, and it has been for a while. Kevin Feige and his lot are just the latest in a long history of Hollywood power brokers who fail to realize that all things have a shelf life, and for the MCU, that time has expired. Really it should have all been shut down after Endgame, or at the very minimum reduced back to a smattering of releases over several years instead of the deluge of substandard content we’ve endured since 2019.
I’ve watched this trailer more times than I can count over the last six months, and every single time it does nothing for me. The Captain Marvel movie was a flop because of the token entry-level feminism, onslaught of 90s references, and the fact that Carol Danvers is so overpowered that even teasing and introducing her meant that you actually had to sideline her for most of the finale because she could obliterate Thanos with a thought, and their eventual fight was just absurd.
So what do we do now? We give her sidekicks! Sidekicks you probably don’t recognize unless you watched Marvel streaming shows, which I did not for reasons I’ve stated repeatedly. As such, I don’t give a crap about “Lt. Trouble” being a grown-up hero. I sure as fuck don’t care about Ms. Marvel, who only comes off as an annoying squee machine in the preview, as if she was assembled from various focus groups full of middle-aged men who think they know how teenagers act. Every word she says in the video makes me want to jam a screwdriver into my temple. And while there was some nonsense in Far From Home explaining why Nick Fury is in space, I still would have to go to the bathroom twice to give two shits. Just like always, some threat will be introduced that laughably comes up with a way to neutralize Danvers’ powers (switching them with the other two whenever they’re used, so of course they’ll clumsily use them until they become a team and figure out how to coordinate themselves) even though she shouldn’t even be a threat, a whole bunch of lame quippy dialogue will be dispensed, and we’ll get yet another fight of same vs. same in front of a green screen because all comic book movies are just fucking cartoons now.
Tell me honestly. Even if you’re still into this, can you genuinely say you saw this trailer and expected anything new or different? Didn’t think so, so why are we even bothering anymore? We all know the death rattle of the MCU came a while ago, and now Feige et al are just holding on to whatever they can still cash in on until they can recast Kang and make a half-assed attempt to save this Multiverse idiocy. I may still watch this because I know it’ll bring in some money and might get a pity Visual Effects nomination, but we all know this is fucked, right? This was supposed to come out in February, as in the winter dumping ground, but it got swapped with Quantumania because the story was so tangled and convoluted that it required weeks of reshoots to even be presentable. So please, let’s just admit it’s over, cut our losses, and get on with our lives, so that maybe, some time down the road, someone else can come along and start making good comic book movies again.
And stop using the Beastie Boys for this crap. Put some damn respect on their names!
Journey to Bethlehem – November 10
I was actually ready to give this one a pass. I’m not a man of faith, but I understand the significance of the Nativity story to Christians, and this is the appropriate season to tell it (though as always, wait for December; August-November is NOT CHRISTMAS!). While it may not be for me, I’m completely fine with telling a New Testament story in this context. I’m even okay with it being preachy because you’re working off of scripture. Even if I don’t agree with it, I can respect it.
But then it became Sunday School Musical.
No. No, no, no, no, no, no, no, no, no, fucking no! The moment you hear some auto-tuned pop star wannabe warbling, “Mary, you’re getting married. It’s about to be the best day of your li-i-ife” completely off key, I am out! It’s not that you can’t make a musical out of a bible story. There are plenty of them: Jesus Christ Superstar, Joseph and the Amazing Technicolor Dreamcoat, Godspell, Children of Eden, the list goes on, many of which don’t use traditional church music. There is creative license galore. But this? This is too far. If I was religious, I’d almost say this was blasphemy because the songs are so shitty and poppy. This is what a youth pastor comes up with to make him seem cool even though the kids all think he’s a dork. I’d sooner play “Do They Know It’s Christmas” on a 24-hour loop than sit through even one track of this dreck! And good lord, they dragged Antonio Banderas into this, too! I mean, seriously, is this the latest effort to bring about the End Times? Piss Jesus off with such terrible songs that he starts the apocalypse just to shut it off? Cause I’d be okay with that.
All that said, if Joseph of Arimathea gets an anticipatory “Summer Nights”-style number where he fantasizes about banging Mary only to get a follow-up ballad about God c-blocking him into a lifetime of blue balls, I might give it a listen.
Your Lucky Day – November 10
I know this is just a cheap crime thriller, but this is one of the few times where I look at a trailer for this column and I see a missed opportunity. The lottery is essentially a tax on the poor, duping millions into shelling out what little money they have for the dream of the big payday. There’s legitimate commentary and insight to be had about the “careful what you wish for” aspect when it comes to anyone getting such a windfall, and having a “bottle movie” inside a convenience store is an ideal setting, as it renders everyone as equals for the duration.
However, Your Lucky Day seems completely disinterested in any of that. Instead, it uses the wholly illogical randomness of an oblivious winner casually scanning his ticket to see that he’s got the jackpot, followed by a stereotypical street thug holding everyone hostage after he overhears the good news. Oh, and there’s an actor in the cheapest looking cop costume this side of Spirit Halloween.
Did the writers even do cursory research? For one thing, when it comes to any major lotto jackpot, if a winning ticket is sold, it makes the news. That way whoever has the ticket can claim their winnings anonymously by double-checking their numbers with the reports. There’s no way someone would just stroll into the store, scan their ticket, and find out they were a millionaire. Such a thing might not even be possible, as larger wins aren’t redeemed in store, but by mail or in person with the state lottery authority. Similarly, the store that sold the ticket would be made aware that they sold it immediately, as they get a bonus commission from the state, so they would in no way be celebrating. Forget about the security risk of drawing attention to the winner, they’d already see their random prize in their paycheck, no matter when the winner came forward.
So once the inciting incident is dismissed for pure stupidity, what else do you have to go on? Well, you have an ominous children’s choir singing “America the Beautiful” in what can only be described as a blunt object to the skull in terms of getting your message that this country is messed up across to the audience. So, yay?
I hate terrible movies, but I hate ones that don’t even try all the more.
It’s a Wonderful Knife – November 10
Oh, did I say that Journey to Bethlehem was potentially blasphemous? Never mind, because we have this, a movie where just about everyone involved should be cast directly into Hell. How fucking dare you? I don’t blame Joel McHale, Justin Long, or anyone else in the cast all that much. They’re just cashing a paycheck. But every person in a position of authority who could have stopped this but didn’t deserves all the fire and brimstone for eternity!
When I first saw this trailer in the theatre, I damn near walked out and demanded a refund. I’ve never even done that for an actual movie I was watching, but I was willing to sacrifice the screening I came to see because of this. I couldn’t even make it the “Worst Trailer” for the month because there aren’t any jokes for this. I’m just genuinely offended that this movie exists. It’s not because it’s a parody. Those can be quite fun. It’s not even because it’s a riff on It’s a Wonderful Life, which is one of my all-time favorite films, because you can take the basic story in myriad directions. Hell, Beavis and Butt-Head even did a version once that worked on some level.
No, it’s because this picture uses such a classic for the most cynical of cash grabs, doing so in a manner that flies directly in the face of what it’s supposed to be about. The beauty and tragedy of It’s a Wonderful Life is in seeing George Bailey, a good man who only tried to do right by people, get beat down by bad luck and a rigged economic system that rewards rich sloths and punishes hard workers trying to make a living. He gets to the end of his rope and contemplates suicide because after years of playing by the rules, those very rules betrayed him and nearly landed him in jail due to Henry F. Potter’s unending greed. He needed to be shown that even in the worst of times, the good work that he’s done had touched so many lives that he’d earned his miracle, be it through divine intervention or the simple caring and goodwill he’d fostered his entire life.
So obviously the best way to spin it is to completely toss all of that aside for a slasher flick where an entitled Gen Z-er (Jane Widdop) is just so stressed out about it that she gets her wish to have never been born, thus reviving the killer that she took down. Fuck. You!
I’m sorry. Call me an asshole all you want. Call me elitist. Call me a hypocrite. I don’t care. Some things have to be sacrosanct, and It’s a Wonderful Life is one of them. This is a film that has stood the test of time and has become part of our shared experience for nearly 80 years. To so casually denigrate it for a quick buck, thus reinforcing the very problem that led to George’s desperation is to fundamentally miss the point of not just that movie, but of the artform of cinema altogether. I’ve said for years that if anyone wanted to reboot The Critic, I’d be all for it, because the parodies they used to think up for that cartoon from nearly 30 years ago are essentially the real movies we get now, and they very much need a public mocking and shaming. This is a prime example of that idea. You want to make another Black Christmas (which the trailer boasts like that’s a good thing), then just do that. No one would care. But this? This is just wrong. If George Bailey was real and lived to see this, he’d kill himself 20 times over, and Clarence would let him.
Manodrome – November 10
There are just some things that no one ever needs to see. Jesse Eisenberg as a muscle-bound meathead doing his own version of Fight Club where he gets inducted into a mafia family led by Adrien Brody is one of those things. I don’t know if Eisenberg trained to bulk up for the role or if it’s some kind of CGI, but I’ve seen people who opened the Ark of the Covenant who looked better.
The Hunger Games: The Ballad of Songbirds and Snakes – November 17
Hey, remember when The Hunger Games was cool? Yeah, that was a fun 20 minutes back in 2012. Then we had two sequel books made into three barely watchable sequel movies. Seriously, apart from Jeffrey Wright, was there anything in Catching Fire or either Mockingjay movie that was worth even a second glance? I submit that there was not.
Still, the original had its moments. But I guarantee you one thing. I sure as hell didn’t watch any of it and think to myself, “Damn, I wish I knew Snow’s backstory, and how he was previously a loving and supporting mentor for the girl who ruined West Side Story and who is currently in the process of ruining Snow White.” I sure as shit didn’t think that, and I’m guessing you didn’t, either.
And yet, here we are. For some ungodly reason, we have this prequel that no one asked for, filled once more to the brim with A-list actors (Peter Dinklage, Viola Davis, Jason Schwartzman) giving narcoleptic performances. Somehow we’re supposed to care about why Snow became so jaded, or about some other District 12 tribute who’s plucky and take-n0-bullshit-y because she’s better than all the other plebes who get to die for our amusement, and somehow I’m sure we’ll be meant to celebrate the franchise’s proud tradition of barely showing any actual Hunger Gaming relative to the rest of the sociopolitical posturing that this series – and so many other Young Adult books – parade as their stock in trade.
I’m sorry. I was done with this crap years ago, and from the myriad previews I’ve seen for this, it looks like nothing new is being added to the equation. This feels like Suzanne Collins trying desperately to extend her 15 minutes, with Lionsgate only happy to oblige because this was profitable a decade ago. As for me, prepare a fucking cannon.
Dashing Through the Snow – November 17
There’s nothing like a good family Christmas movie. And this is nothing like a good family Christmas movie.
Honestly, I was willing to let this one slide, even though it’s clearly not for me, for about the first minute of the trailer. Then Lil Rel Howery introduced Ludacris as a “non-believer,” which someone refers to as being “Claus-trophobic,” leading Ludacris to say, and I quote, “That’s ludicrous.”
Out!
I know family movies are full of bad puns, but any chance you had of keeping my attention was gone in that very painful moment. I don’t ask much out of my holiday entertainment, but something a little above braindead would be nice once in a while. This sadly fails to clear even that low bar. Initially this looked like a harmless, forgettable trifle. After that moment, I’d sooner find intellectual stimulation and creative credibility from Deck the Halls. And that’s before you get to Lil Jon screaming a Christmas rap.
Please Don’t Destroy: The Treasure of Foggy Mountain – November 17
I never thought I’d say this, but Conan O’Brien is SLUMMING IT here. This shit makes Without a Paddle look like Schindler’s List. You all know The Goonies wasn’t meant to be remade with adults, right?
And holy shit that CGI bird is fake as fuck! Look, I know straight-to-streaming movies don’t always have the biggest budgets and aren’t necessarily of the highest quality, but if you’re gonna do crap this bad, at least do me the courtesy of not screening it for an MPA rating so I don’t have to waste my time with the trailer in anticipation of a theatrical release. Let me just ignore it because we all know it’s garbage. I’m not asking for much here, people.
Wish – November 22
The Walt Disney Company just celebrated its 100th anniversary last month, and in honor of the occasion, I’m working on a fun project for the YouTube channel that I hope to put out in December (fingers crossed). In the meantime, there’s the 62nd entry into the Disney Animation Studios canon, Wish, which seems… not great.
The animation looks fairly decent, but that’s about all I can see going for it. The lead character, Asha (Ariana DeBose), comes off as another hyperactive, obnoxious protagonist in the vein of MeiMei from Turning Red. The princess ballad she gets is cheesy as hell. Chris Pine as the “villainous” king is a completely tone deaf characterization. He has the power to grant wishes, but does not grant them all, only the ones he’s sure will benefit the kingdom. That makes him a good leader, not a bad guy. Did you never see Bruce Almighty? Just giving everyone what they want without consideration for the consequences is not a good idea, so why are we treating it like it is? Oh, right, because the princess is perfect, like all Disney female protagonists of late, and thus she can’t be wrong or learn a lesson. She must only prove to everyone else why they’re wrong for doubting her. Again with the pandering to feminism while backhandedly reinforcing regressive tropes.
And then, just for good measure, you have Alan Tudyk as talking pet goat Valentino. He looks strangely like almost every other goat in Disney history, and he opens secret doors by rubbing his butt on them, because we like giving children intellectual credit. But more importantly, as much as I love Tudyk, he’s just doing the same voice he does for Clayface on Harley Quinn, and I’m not sure I can see anything else whenever the goat opens its mouth. I’ll obviously still see this, as Disney Animation Studios is the one constant with the company that has been churning out good stuff (with some dry spells) for a century. But that said, we have been on a bit of a downturn lately. Over the last decade, only Moana, Encanto, and Frozen are what I’d call truly special. Others have had quality, certainly, but nothing that’s really stood out as original and fun, and after last year’s disappointment with Strange World, the studio needs a winner.
Napoleon – November 22
I don’t think this will necessarily be bad, exactly, but there are some red flags. Ridley Scott was quite angry when The Last Duel failed at the box office and didn’t get any Oscar nominations, while House of Gucci was roundly mocked the same year, so he’s clearly going all in on this project. And for what it’s worth, there does look to be some solid cinematography and production design.
Beyond that, though, I’m not so sure. I think Joaquin Phoenix is a terrific actor, but he feels miscast here. It’s one thing to not do a French accent, very few actors do (usually opting for generically British for anything European that isn’t German), but it’s quite another to just do his normal speaking voice. It also feels like the characterization of Napoleon Bonaparte is going to be reduced to an allegory for Donald Trump, and honestly, I’m just tired of it all. Do the trials, put the fucker in prison, liquidate his assets, let him get ass raped and die in jail, and let’s just be done with the whole lot of them already. The way Phoenix casually says, “I’m the first to admit when I make a mistake. I simply never do,” sounds like something straight out of the MAGA handbook, and I’m exhausted with it.
Then there’s Josephine, played by Vanessa Kirby (though looking like Morena Baccarin at first). For half the trailer she plays like a concubine who can’t pick a voice, and for the back end she’s Lady Macbeth. I don’t get it. She’s another fine actress, so I’m sure she’s capable of pulling something brilliant out of this, but I’m not seeing it from this particular preview.
What really worries me is that Ridley Scott has a 4.5-hour director’s cut of this film that he’ll release on AppleTV after the main theatrical run. As I mentioned with Killers of the Flower Moon, I don’t mind long films, per se. I believe you should take the time necessary to tell your story properly. But here’s the thing. The theatrical cut of the movie is 157 minutes, just over two-and-a-half hours. You’re telling me there are over two more hours of this? That tells me Scott didn’t know what story he was telling. Napoleon is a major historical figure whose exploits have been told for 200 years. If you can’t figure out what to focus on to keep things under two hours, you’re doing it wrong. Although, I guess I shouldn’t be too surprised, as the tagline used on the posters for this film reads, “He came from nothing. He conquered everything.”
Yeah, except for that one thing…
Genie – November 22
You know what was missing from the Christmas season? Melissa McCarthy doing a piss-poor impression of Will Smith’s piss-poor impression of Robin Williams’ Genie from Aladdin.
Again, streamers, please, just don’t submit it for an MPA rating when you know it’s this bad and only going to live on your platform. That’s all I’m asking. How the hell does McCarthy get away with defiling two Disney classics in one year?
Family Switch – November 30
Jesus Christ, no! Ed Helms, I love you, man, but fire your agent if this is what he’s giving you. Jennifer Garner I get, but not you. You’re so much better than a Christmas version of Freaky Friday, which we basically already had with the all-timer in Trading Places. True it wasn’t a pure body swap, but if you expect airtight analogies and references at this stage of the proceedings, you clearly haven’t been watching all these mind-numbing trailers.
Also, the CGI baby drinking out of the dog bowl will haunt my dreams for weeks to come.
***
And with that, there’s still somehow one teaser even worse than all of these. This is a very rare case, in that it’s the first “winner” of this title that I selected well in advance. Literally from the moment I saw the first preview back in fucking MARCH, I had it penciled in. I had originally planned to include my sister in the video when she came and visited last month, which would have necessitated recording weeks ahead of schedule, but that’s how certain I was that I wouldn’t see anything more worthy of the distinction of “The Worst Trailer in the World!”
Trolls Band Together – November 17
A diabetic coma would be preferable to another installment of this bullshit.
***
Finally, at long last, after a record-setting number of horrible previews, we come to this month’s “Redemption Reel.” There are a few promising candidates this month, particularly for Thanksgiving, Next Goal Wins, and Saltburn. But given just how bad of a taste the Trolls leave in my mouth, I thought it was most fitting to show some kiddie fare that actually has potential.
Leo – November 21
Adam Sandler is always a crapshoot, especially in animated form. But there is a charm to Leo from what I see here. The animation itself doesn’t appear to be anything special (though I do love the title character’s design), but it’s got good intentions, a bit of heart, and some decent humor.
Sandler has spent the bulk of his career playing man-children in the midst of arrested development, with varying results over the years. Sometimes the silliness is endearing, and other times it’s infuriating. But with Leo, there’s something a bit more real to it, despite him playing a cartoon talking lizard. You can hear just a touch of wistfulness in his voice when he contemplates just how old he is (another recurring theme in Sandler’s filmography), and when it’s accompanied by him thanking and then eating a fly, it sticks with you in an unexpected manner.
The idea of wanting one last hurrah before you kick off is nothing new, but Sandler finds an intriguing angle through the reptile. A quest for freedom becomes a newfound purpose by revealing his secret talkative nature to the kids forced to take him home for a weekend, imparting experience and unusual perspective, which in turn allows the kids to show him the value of his own small pocket of the world. It’s distinctly odd, but it also feels earnest, not to mention quite funny in a good-natured way.
Will this be the animated sleeper hit of the year? Most likely not. But I can’t help but have a smile on my face as I watch this trailer. When so many kids films just condescend, shamelessly advertise, or both, it’s refreshing to see one of the more playful stars of the last 30 years do something that, at least on first glance, comes across as genuine and fun.
***
That’s all for this month, folks. If you kept your eyes open the whole time and didn’t nod off, I’m both thankful and impressed. Enjoy the start of the holiday season, no matter what you see, and stay tuned for reviews from my festival adventures and my own little tribute to Disney’s centennial in the days and weeks to come!
Join the conversation in the comments below! Do you plan on seeing any of these films? Was I too hard on any of them? What movies do you hold sacred enough that a cheap parody would make you want to commit murder? Let me know! And remember, you can follow me on Twitter (fuck “X”) and YouTube for even more content!
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