Caught in a Ham (2019, Miguel Jiron) (2)
The Stop Button Posted by Andrew Wickliffe on May 27, 2019
I think I went into Caught in a Ham with unduly high hopes (I’ve been a Peter Porker, the Spectacular Spider-Ham since 1983) and apparently I’m enough of a purist to be a little upset Spider-Ham loses out on half his four minute cartoon so it can tie into Into the Spider-Verse. There’s also the read more
Caught in a Ham (2019, Miguel Jiron) (3)
The Stop Button Posted by on May 27, 2019
I think I went into Caught in a Ham with unduly high hopes (I’ve been a Peter Porker, the Spectacular Spider-Ham since 1983) and apparently I’m enough of a purist to be a little upset Spider-Ham loses out on half his four minute cartoon so it can tie into Into the Spider-Verse. There’s also the read more
Caught in a Ham (2019, Miguel Jiron) (4)
The Stop Button Posted by on May 27, 2019
I think I went into Caught in a Ham with unduly high hopes (I’ve been a Peter Porker, the Spectacular Spider-Ham since 1983) and apparently I’m enough of a purist to be a little upset Spider-Ham loses out on half his four minute cartoon so it can tie into Into the Spider-Verse. There’s also the read more
Caught in a Ham (2019, Miguel Jiron) (1)
The Stop Button Posted by Andrew Wickliffe on May 27, 2019
I think I went into Caught in a Ham with unduly high hopes (I’ve been a Peter Porker, the Spectacular Spider-Ham since 1983) and apparently I’m enough of a purist to be a little upset Spider-Ham loses out on half his four minute cartoon so it can tie into Into the Spider-Verse. There’s also the read more
Sum Up | Utility Man: Josh Hartnett, O, and the Blood at the Root (2)
The Stop Button Posted by Andrew Wickliffe on May 25, 2019
Tim Blake Nelson’s O adapts Shakespeare’s Othello as a modern, moody, lush, teenage Southern Gothic. Sixteenth century Venice becomes a South Carolina prep school, Palmetto Grove, in the late 1990s; Venice’s armies become the school’s basketball team, the Hawks. The Hawks are crushing it this read more
Sum Up | Utility Man: Josh Hartnett, O, and the Blood at the Root (1)
The Stop Button Posted by Andrew Wickliffe on May 25, 2019
Tim Blake Nelson’s O adapts Shakespeare’s Othello as a modern, moody, lush, teenage Southern Gothic. Sixteenth century Venice becomes a South Carolina prep school, Palmetto Grove, in the late 1990s; Venice’s armies become the school’s basketball team, the Hawks. The Hawks are crushing it this read more
Sum Up | Utility Man: Josh Hartnett, O, and the Blood at the Root (3)
The Stop Button Posted by on May 25, 2019
Tim Blake Nelson’s O adapts Shakespeare’s Othello as a modern, moody, lush, teenage Southern Gothic. Sixteenth century Venice becomes a South Carolina prep school, Palmetto Grove, in the late 1990s; Venice’s armies become the school’s basketball team, the Hawks. The Hawks are crushing it this read more
Sum Up | Utility Man: Josh Hartnett, O, and the Blood at the Root (4)
The Stop Button Posted by on May 25, 2019
Tim Blake Nelson’s O adapts Shakespeare’s Othello as a modern, moody, lush, teenage Southern Gothic. Sixteenth century Venice becomes a South Carolina prep school, Palmetto Grove, in the late 1990s; Venice’s armies become the school’s basketball team, the Hawks. The Hawks are crushing it this read more
Vicki (1953, Harry Horner) (2)
The Stop Button Posted by Andrew Wickliffe on May 24, 2019
Vicki is an object lesson in why not to cast against type. Richard Boone plays an obsessive, highly decorated police veteran who is also supposed to be wimpy (except, literally, when beating up helpless people). About the only time Boone isn’t absurd is when he’s stalking his suspects, breaking read more
Vicki (1953, Harry Horner) (1)
The Stop Button Posted by Andrew Wickliffe on May 24, 2019
Vicki is an object lesson in why not to cast against type. Richard Boone plays an obsessive, highly decorated police veteran who is also supposed to be wimpy (except, literally, when beating up helpless people). About the only time Boone isn’t absurd is when he’s stalking his suspects, breaking read more
Vicki (1953, Harry Horner) (3)
The Stop Button Posted by on May 24, 2019
Vicki is an object lesson in why not to cast against type. Richard Boone plays an obsessive, highly decorated police veteran who is also supposed to be wimpy (except, literally, when beating up helpless people). About the only time Boone isn’t absurd is when he’s stalking his suspects, breaking read more
Vicki (1953, Harry Horner) (4)
The Stop Button Posted by on May 24, 2019
Vicki is an object lesson in why not to cast against type. Richard Boone plays an obsessive, highly decorated police veteran who is also supposed to be wimpy (except, literally, when beating up helpless people). About the only time Boone isn’t absurd is when he’s stalking his suspects, breaking read more
Irreversible (2012, David Levinson) (2)
The Stop Button Posted by Andrew Wickliffe on May 23, 2019
Irreversible is blissfully unaware of itself. It’s the story of dude-bro Timothy Paul Driscoll breaking up with girlfriend Alice Hunter, then the story of their relationship in reverse. Get it, irreversible? Reversible? Get it? How writer and director Levinson lifts the title and narrative device read more
Irreversible (2012, David Levinson) (1)
The Stop Button Posted by Andrew Wickliffe on May 23, 2019
Irreversible is blissfully unaware of itself. It’s the story of dude-bro Timothy Paul Driscoll breaking up with girlfriend Alice Hunter, then the story of their relationship in reverse. Get it, irreversible? Reversible? Get it? How writer and director Levinson lifts the title and narrative device read more
Irreversible (2012, David Levinson) (3)
The Stop Button Posted by on May 23, 2019
Irreversible is blissfully unaware of itself. It’s the story of dude-bro Timothy Paul Driscoll breaking up with girlfriend Alice Hunter, then the story of their relationship in reverse. Get it, irreversible? Reversible? Get it? How writer and director Levinson lifts the title and narrative device read more
Irreversible (2012, David Levinson) (4)
The Stop Button Posted by on May 23, 2019
Irreversible is blissfully unaware of itself. It’s the story of dude-bro Timothy Paul Driscoll breaking up with girlfriend Alice Hunter, then the story of their relationship in reverse. Get it, irreversible? Reversible? Get it? How writer and director Levinson lifts the title and narrative device read more
Younger selves
The Stop Button Posted by on May 23, 2019
One thing I do now when blog writing is spend however long I want on it. The whole reason for Stop Button’s old 250 word count constraint and Comics Fondle’s 150 one was so I wasn’t spending too much time writing blog posts. I wanted to be quick at it. Not so much anymore. Now I just go. I don’t read more
Introvert blogging
The Stop Button Posted by on May 22, 2019
The first blog comment I ever got—on jablog—made me question the whole idea of starting a blog. It certainly affected how much I was going to engage with commentators. Back in the early days of blogging, when you read every kind of blog because there were (relatively) so few, people made comments read more
Lights Out (2016, Savannah Bloch) (2)
The Stop Button Posted by Andrew Wickliffe on May 21, 2019
Lights Out gets obvious way too fast given it’s a five minute short. The film opens with Alixzandra Dove in a mostly dark house, folding clothes while she talks to a friend on the phone. There’s a little exposition from the phone call—Dove’s kid has outgrown some clothes, Dove’s partner has read more
Lights Out (2016, Savannah Bloch) (1)
The Stop Button Posted by Andrew Wickliffe on May 21, 2019
Lights Out gets obvious way too fast given it’s a five minute short. The film opens with Alixzandra Dove in a mostly dark house, folding clothes while she talks to a friend on the phone. There’s a little exposition from the phone call—Dove’s kid has outgrown some clothes, Dove’s partner has read more