Bong Joon-ho is the new Terry Gilliam, and I’m shuddering at the prospect. I say this knowing I’ll have to sit through this effing thing. You think it won’t be a miserable experience? Think again.

Please identify the films in which highly complex communication devices, designated as CRM-114 and AE35, figure prominently in the plot.

…and not even parenthetically or anecdotally mentioning the catastrophic Speed 2: Cruise Control (’97)?

The Hollywood Reporter‘s Chris Gardner reports that during the q&a aftermath of Tuesday night’s (10.8) screening someone asked about the possibility of a Speed 3 film. And nobody says zip about Speed effing 2?

And nobody mentions the hugely annoying, physically impossible freeway-gap bus jump sequence? If the authorites had somehow assembled a makeshift ramp that would have elevated the bus leap arc and thereby allowed it to land on the other side…okay.

Owen Gleiberman’s Variety review shoves a blade between the ribs of Blitz.

HE: “Have you received any more reports about Blitz being a problem movie?”

Ruimy: “I keep hearing it’s a major disappointment. With that said, don’t be surprised if the woke London crowd tries to be as polite as possible in their reactions.”

The press saw Blitz this morning. The London Film Festival swells will attend a screening that starts at 7 pm and lets out around 9:15 or 9:30 pm.

Posted by Jordan Ruimy on 10.6.24:

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No matter how euphoric or blissful life can feel in your mid 20s….well, it doesn’t last. There are no high notes like mid 20s high notes. And the older you get, the more precious they seem.

Will the red-state bumblefucks even take notice?

Vice President Harris: There are so many people in our country who fall in the Sandwich Generation. They're taking care of their kids and they're taking care of their aging parents. It’s just almost impossible to do it all. So I am proposing that we allow Medicare to cover… pic.twitter.com/LfqOT0LvHp

— Kamala HQ (@KamalaHQ) October 8, 2024

Sasha Stone deleted the torch-carrying natives, added the heads of the Kodak Theatre swells. It just has to be up-rezzed, cleaned up.

James Mangold‘s A Complete Unknown (Searchlight, 12.25) is obviously going to deliver…well, a certain kind of authenticity…the portentous, casual kind like a slider or a long putt, certainly by way of Timothee Chalamet‘s performance, and also like a “movie” with the right kind of pacing, the right kind of emphasis here and there…some kind of steady, pro-level thing.