Hello again, and welcome again, to my other every-other-monthly video series, Damn Good Picture. If Why? A Question for Bad Movies asks Why, then Damn Good Picture asks How, as I examine the mechanical tickings of what I think is great in cinema. Damn Good Picture will be less focused than its sister show, and an episode could cover a single film, or an aspect of a single film, or an entire range of films.
Continue reading The Wolf of Wall Street | Damn Good Picture: Episode 2
In this episode of Why? A Question for Bad Movies, I take a look at The Amazing Spider-Man 2, a garish, atonal nightmare that, to my mind, serves as the bastard end sum of all the trends going on in modern Hollywood. Why does this film spend so much time on Spider-man’s boring dad? Why couldn’t we be blessed with more Russian gangster Paul Giamatti and less sexually frustrated manchild Jamie Foxx? And man, Spider-man gets away with some amoral shit so they can keep the plot simple, huh? Enjoy:
Continue reading The Amazing Spider-Man 2 | Why? A Question For Bad Movies: Episode 2
Hello again, and welcome again, to my other new every-other-monthly video series, Damn Good Picture. If Why? A Question for Bad Movies asks Why, then Damn Good Picture asks How, as I examine the mechanical tickings of what I think is great in cinema. Damn Good Picture will be less focused than its sister show, and an episode could cover a single film, or an aspect of a single film, or an entire range of films.
Continue reading Mad Max: Fury Road | Damn Good Picture: Episode 1
Hello and welcome to ‘Why? A Question for Bad Movies’. This series of video essays seeks to ask a simple question of bad movies: Why?
Continue reading Labor Day | Why? A Question For Bad Movies: Episode 1
Star Wars: The Premake (2015) | By John D’Amico | 118 min.
A couple years ago when John D’Amico first told me he was planning on doing this, it of course sounded awesome, but it seemed to me like it might become a Synecdoche, New York-esque endeavor that would take over his life for decades. I just couldn’t fathom it ever actually being completed, even a rough cut. But then again, we’re talking about the guy behind Shot Context—if anyone were going to do this, and do it without growing old and grey, it’d be him. His encyclopedic knowledge of film, and ability to pinpoint homages, ripoffs, and coincidences throughout all of film history, never ceases to amaze me.