Directed by Guillermo Del Toro – Screenplay by Guillermo Del Toro & Kim Morgan.
Based on the 1946 William Lindsay Gresham novel of the same name (which was first adapted by Edmund Goulding in 1947), Guillermo Del Toro’s Nightmare Alley follows a mysterious drifter named Stan Carlisle, who is hired by a carnival and soon becomes fascinated by the mentalist techniques that his co-workers have made a living off. When he leaves the carnival to thrive off the techniques that he has acquired, he became infatuated by the power of his act and the money that they lead him to. It won’t be long until he decides to fool the wrong person.
The review does not include spoilers for Avengers: Endgame, (dirs. Anthony & Joe Russo) but you should absolutely expect spoilers for every film that came before it in the connected universe.
“All that for a drop of blood,” Thanos, the Mad Titan, groaned in 2018’s Avengers: Infinity War moments before Doctor Strange relinquished the time stone to save Tony Stark’s life. Soon the not-so-seasoned Avengers turned to dust. The teenaged talking tree, the brave wall-crawler, an African king with a seemingly impenetrable suit made to look like an anthropomorphic big cat, and a quippy, tricker-happy, 70s music-loving outlaw — all gone from one moment to the next. Those left standing were left to live with their mistakes, as the Avengers had now well and truly lost even though a Norse God, multiple supersoldiers, an eccentric billionaire, and a magical surgeon — to name a few — had fought long and hard to save fifty-percent of the known universe. They failed. If those sentences made no sense to you whatsoever, then Avengers: Endgame isn’t for you. If, however, you’ve been waiting to see — nay, obsessing about — what comes next for Earth’s Mightiest Heroes, then Endgame was designed for you. It is a somber epic like nothing you’ve ever seen before. Avengers: Endgame is peerless in scope and attention to detail, as well as moving from start to finish. Continue reading “REVIEW: Avengers: Endgame (2019)”→
It is finally time for me to announce my own personal film nominations for the I’m Jeffrey Rex Awards of 2018. Sure, we’re in 2019 now, but I needed some time to watch some of the films that were released in January in Denmark.
There will be a couple of surprises here, and I’m not just talking about the nominees. Four awards that have not previously been announced will make their debut here with their own sets of nominations. Also, one award has had its titled changed to allow for more than a small handful of nominees. Well, let’s get to it. Continue reading “IJR Awards 2018: Film Nominations Announced”→
Today I’m revealing the first half of the 2018 nominations for this blog’s IJR Awards (I’m Jeffrey Rex Awards, but you probably already guessed that). The two legend awards (Film Legend and TV Legend) aren’t getting any nominees, instead, I’ll reveal the winners, or honorees, in the two upcoming IJR Awards 2018-posts. Continue reading “IJR Awards 2018: Nominations, Part One of Two”→
It’s beginning to look a lot like, well, awards season. Some critics groups have already announced their winners, while other groups are still waiting for their brief moment in the spotlight. As the wait for the BAFTAs and Oscars goes on, the first major televised awards show is about to announce the films, shows, and performers who they have nominated for their coveted awards. So, today, I am going to try to predict the nominees for each and every film category for the upcoming Golden Globe Awards. Continue reading “Golden Globes Predictions: Film Nominations – Special Features #35”→
The following is a review of A Star is Born — Directed by Bradley Cooper.
There is a scene towards the end of the film, where Sam Elliott’s character gives a speech about twelve notes, an octave, and the same story being told over and over again. This feels like first-time director Bradley Cooper’s attempt to justify remaking the A Star is Born story for the third time — the industry is cyclical and only the artists can make new attempts unique. Continue reading “REVIEW: A Star is Born (2018)”→
This year, Bradley Cooper is giving us his highly anticipated directorial debut with his version of A Star is Born. Notice how I said ‘his version?’ Good, well, the fact of the matter is that Cooper’s A Star is Born is the third remake released of the 1937 William Wellman romance drama. So, what does that mean for its Oscar chances? Can a remake be nominated for, or even win, the biggest categories at the Oscars? Well, let’s see. Continue reading “Remakes at the Oscars – Special Features #31”→