At some point, posters started forcing the head of every credited actor into the design. But what I loved about posters growing up, especially for comic book movies, was their ability to encapsulate the entire feeling of the experience in one image. It was a bottled-up vibe ... And it may not seem important (it's just the poster), but it points to what's gone out of the experience since then. Like the posters, the films are too often concerned w/ clean, star-powered symmetry at the expense of the stylistic voice at the heart of the material.

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Oof. The writing in Obi-Wan Kenobi has passed the point of leniency.

In Part IV (spoilers), they kill a rebel to kidnap Leia and probe her mind for the base, while letting Obi-Wan escape to lure him into saving her... and let him go.

Let's talk about that a second:

https://twitter.com/filmobjective/status/1534717931854118912

Even discounting that a force mind probe makes A New Hope moot, this show isn't keeping track of anything. People teleport all over, they talk in crowded rooms and the writers "decide" that no one can hear them. They overlook obvious alternatives (probing the mind of the pilot).

This is a well-spoken thread justifying The Last Jedi in Star Wars canon and explaining the intent of its narrative. Check it out!

While I appreciate this assessment of its intent, in this thread, I want to discuss some execution issues I think should be PART of the discussion.

https://twitter.com/swankmotron/status/1533853606549409792

Arcs like Poe outgrowing the hot-head hero persona are good ideas, but if it was thematic that his plan was bad, Holdo's should have been great. "Releasing escape pods" is not complex enough to justify putting the audience through the runaround. That gap obscures the theme.

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Regardless of anything else, Obi-Wan Kenobi has an astonishing lack of attention to the logic of its action.

People teleport constantly for convenience, bad guys "lose" good guys even though they're RIGHT THERE, Leia outruns adults constantly. It's so distracting. As an example of the exact opposite, Part 3 of Clone Wars (2003) is an immaculately attentive presentation of space and POV. The action never loses the audience for a SECOND.

Obi-Wan's creators seriously need to take notes. You couldn't pass a film class w/ what they're doing.

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Polanski’s Bitter Moon (1992).

I rarely say this. But this is a demeaning film. Its POV is sexist in a way that makes everyone worthless. It's SO cynical. It has the rare dishonor of being a film I hate thematically far more than the actors and visuals deserve. The reason is not just its execution, which prioritizes cheesy narration to sell every small emotional detail, falsely excusing the visuals from being as creative as they could be. That just makes it boring.

What makes it truly vile is its completely unempathetic worldview.

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Glass (2019)
W/ its nice presentation, it's just so painful that the crucially flawed element is the script's dramatic priorities.

All I would do is rewrite the film to include a full character thread for David, including his relationship w/ his powers and his son.

https://twitter.com/terryjgeo/status/1411000211711856653

Instead of him just vanishing from the entire 2nd act and waking up after a literal nap for the ending, I would include him!

I love the idea of the Clover Organization being beaten by a normal guy, not because of his strength, but his normalness.

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Ghost Rider: Spirit of Vengeance is a 2001 CBM made 10 years late. Expectations in 2011 were COMPLETELY different. Does this mean the film is “underrated?”

It’s respectably loony. Cage expresses it facially to a level of enjoyment that prevents it from being boring.

https://twitter.com/filmobjective/status/1409604138317537280

But it sidesteps its ability to be, even on its own terms, a "good movie."

Its problems are in conventions. The henchman villain is dramatically inert. The girl has no energy at all, not dramatic, not romantic, nothing. She really should have had crazy charisma.

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Snow White is still one of the best animated films. It not only forged feature animation but recaptured the particular dark optimism of the European fables.

I think the scene where Snow White wakes up in bed is still THE most important scene in animation history.

https://twitter.com/SpaceMonkey907/status/1410052366078935041

Why that one?
What we have to remember about animation is that it was not SELF-EVIDENT that it would stylize characters based on their personality. It could have been used (for someone less artistic, it would have been) simply to turn realistic people into animated forms.