Years of writing for various outlets has taught Brad Slager an important lesson: Specializing in unique subjects can be a point of pride, until an editor lets it be known no one else was willing to cover said subjects. Being the case he still has found willing outlets for his work, such as Movieline (covering the film industry and the Bad Movies We Love column) as well as Breitbart’s Big Hollywood, Pocket Full of Liberty, and even ComicBookMovie.com. For leisure he enjoys well crafted beer and poorly crafted films (intentionally) and bad hockey teams (unintentionally). For more social commentary, and the occasional buzz-tweeting of bad DVDs, you can follow him on Twitter @martinishark.
An earlier entry in the slasher realm is actually a touchstone in the genre: ‘The Town That Dreaded Sundown.’ It’s the last time I felt a visceral combination of fright and thrill from a film.
Critics pegged ‘Venom’ as not just a lower-rung Marvel film, but as one of the worst comic book films ever. Is it really that bad? Yes.
For this cinema cynic, who glories in the misfires and crater-producing duds, there is not as much wreckage to pick through this year, but there are still ample failures to be found.
Forget the greats, let’s take a look in the dumpster behind the 2017 theater for the failures and rejects.
It may be fitting Hollywood wants to immortalize Wendy Davis, since so much of her story is essentially a manufactured fairy tale.
If it was so well known, why did no one stop him? Complicity with Harvey Weinstein’s attacks is built into the entertainment industry.
The scope and the power that digital content providers wield in the culture is growing, while many old-guard institutions are getting bent out of shape at the encroachment.
That the Right would be targeted at an awards show is not at all surprising. It is rather amazing, though, there could be no material found to skewer Democrats.
Summer 2017 overall was a dismal session for Hollywood, with the total box office nearly 16 percent lower than the previous year.
Under the guise of high-minded principles, supposedly family-friendly studios keep fighting the technologies that give parents control over what their children consume.
In recent years, Hollywood has often grappled with movies that should appeal to the activist female demographic but can deliver unpredictable results. Like ‘Wonder Woman.’
After years of headlines and Internet hype selling ‘diversity’ in characters and social-justice plotlines, Marvel is paying the price.
Garbage, building materials, and months of untreated human waste from thousands of Standing Rock squatters now threatens the very water they claimed to be protecting.
To behold a Hollywood major conceding defeat in this manner is indeed a rarity. But ‘Monster Trucks’ opens this weekend, and Paramount is already expecting to lose $115 million.
PC judgments against ‘insensitive’ costumes aren’t enough (nothing ever is). The perpetual squawking squads now place cartoonish Houses of Horror in their crosshairs.
Media members use group-shaming tactics to either cow ideological defectors into submission, or expel them from their ranks.
Seeing an NFL team I have backed acting with orchestrated contempt for national solemnity means they no longer represent something I want to support.
As Hollywood congratulates itself for the money-making frame that just ended, allow me to point out the attempts that will not lead to bonus payouts in the executive offices.
After almost a month we can eulogize the most contested film release of the year.
An interview with the screenwriter and producer behind television’s inexplicable summer movie franchise.
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