Reviews of the Bosch

You cannot convince me that Backrooms isn’t talking about A.I. Even though the aesthetic “creepypasta” on which the movie is based first surfaced on the internet in 2019, the effect of its unnerving look and feel -the ‘errors’ in reality- is remarkably similar to the creepy attributes of a lot of generative A.I. Articulating exactly what is off about the Backrooms is by a couple characters likened to describing a dog to someone who has never seen a dog before and asking them to draw a picture of it: some details will be correct but the thing as a whole will not quite resemble what a dog actually looks like. And isn’t that just what A.I. does? Generate (from a library of stolen data) an approximation of something that broadly appears correct …until you look more closely at it, and the flaws in design become starkly apparent. Kane Parsons may have considered that lens when he created his Backrooms web series while still a teenager in 2022. Four years later at the ripe old age of twenty,...

I will be honest, I’ve never really considered the role of meteorologists during war. I don’t suppose a whole lot of people have -it sounds like a fairly dull component of a battle plan: predicting the weather conditions for campaigns. One of the characters in this movie even points out how dull weathermen can be and that is true. What is the value in their contributions to something as serious as war?                                                                                                                 Well, weather is something extremely serious. And when the stakes are high enough it turns out knowing the weather is a vital part of military strat...

Douglas Fairbanks’ 1924 star vehicle The Thief of Bagdad is an interesting, technically impressive, if sometimes underwhelming silent era swashbuckler. Fairbanks is charismatic in lieu of his obvious miscasting for the role, yet there is really only one other performance that stands out and gives the film some much needed colour. And that is a young Anna May Wong at the start of her career playing the fiendish slave girl to the princess who needs saving. She is striking for what the role demands of her, emanating beyond its blunt archetype. Unfortunately, this would be the pattern for Wong for much of the next decade and a half -a scene-stealer captivating audiences but kept at a distance due to the pervasive racism of the Hollywood industry at that time. Wong became a star, as much a household name as many of her white colleagues, but she was never allowed to be THE star as a Chinese-American woman. The system actively blockaded it. Leading parts weren’t being written for Asian women...

I am not caught up with the series this movie is based on. I did watch the first season of Boba Fett Toy: The Show (before Disney literally made Boba Fett Toy: The Show ) and liked it fine, but never bothered to keep up with it afterwards due to the second season’s much-publicized use of extensive CGI ghoul effects and the apparently increasingly insular nature of its references tying into Dave Filoni’s various Star Wars projects, in which I had no experience with or interest in. But The Mandalorian is by a wide margin the most popular of the Star Wars shows on Disney+, enough so that it has permeated the pop culture primarily through the marketability of its very cute sidekick character Grogu (formerly informally “Baby Yoda”).  If Disney were to give any of those shows the cinematic treatment, it makes sense that that is what they would go with. And for parts of this movie, I would say that impulse proves apt. For most of the movie however, it does not. The Mandalorian and Grogu...

Boots Riley is someone with a very distinct sense of style. This is evident just from looking at the man -with his often colourful, zoot suit-inspired clothing aesthetic, his intense sideburns, and signature large hat, he’s the kind of person who stands out in a particular way -and none of these choices are accidental. He has stated openly that much of this look has come about through his relationship with boosters, i.e: people who shoplift exclusive or expensive clothing from high-end retailers to resell at a discount to those of low-income status. He has a considerable degree of respect for boosters, whom he characterizes as latter-day Robin Hoods. It inspired a song by his hip-hop group The Coup twenty years ago, that he has now translated into a movie. I Love Boosters is partly a love letter to the people who do this, but it is mostly a diatribe against the politics of the fashion industry, its bizarre excesses, and its exploitation of workers and the public. The movie argues for a...

It’s a bit amusing that Curry Barker, a director in his mid-twenties who has just made one of the relatively few good Monkey’s Paw movies in recent years came to the idea not from the classic horror story of that name by W.W. Jacobs but from the Simpsons segment in “Treehouse of Horror II”. At this stage most people of my generation and younger probably do know the reference more from The Simpsons than literature, but he might be the only one open about it. But honestly it’s fitting that the impetus for Barker’s Obsession would come from a comedy show given his movie is very aware of the twisted humour inherent to the premise. It is after all perhaps the quintessential variant of horror irony -you wish for something you think will be good, but because you haven’t considered all the angles and implications it winds up turning out horrifying. Every fantasy has a terrible dark side it posits, and there is something creepily funny to that. And Barker also has fun with the other absurdit...