If I could have one wish, it’d be to interview Richard Linklater.
It’s a bit selfish to test my luck in that regard, only because you’re only granted so many wishes in life before the well runs dry, but I mean it, if I could, I’d pick that man’s brain for at least an hour.
I remember the first time I ever sat through “Fight Club.” Like many of American audiences I expected an action movie about brawlers and didn’t see this gritty, ugly, and grimy tale about psychos and self-mutilation coming to me. And I hated it. Not just that, but I despised it. And the larger my internet presence became, the more it became something I was largely about. People always questioned by credibility through my hatred for “Fight Club,” and once I even received an e-mail from a reader begging me to post his own review for “Fight Club” on Cinema Crazed since he insisted I missed the entire point of the movie.
And perhaps I did.
We’ve reached that time again where we, the Punisher fans of old and new begin wondering what is happening with Frank Castle also known as The Punisher. Last year Marvel Studios bought back their properties including Daredevil and The Punisher and are now basically just sitting on them. And we’re wondering when we’re going to see another bonafide Punisher movie in theaters. Surely making revenge films isn’t that hard an endeavor since every studio has released their own revenge film over the years. But for some reason you’d think making a revenge film about a stone cold avenger with a skull on his black shirt is something that requires rocket science.
I don’t know, I guess I’m indifferent to the cries of the moronic who want movie theaters to be multimedia factories where movies are only a third idea in the experience. I’ve always been a loyalist when it comes to movie theaters. When I go in to a movie, I want to sit down in the dark and share an experience with other movie goers. I want to absorb a film, I want to take it in, and I want to leave affected by it. The humongous screen staring down at a dark arena of movie seats has always been a familiar and beloved sight for me, because it’s where I spent a lot of my childhood.
“The Censored Eleven” are the unofficial eleven animated shorts that have been banned, censored, or edited from public consumption and haven’t been seen by most in America. While some of the shorts have been released with a commentary about its social and political context, most are strictly taboo. In this limited series, we’ll review the censored eleven and figure out why these titles are still very volatile.
Clean Pastures (1937)
I. Freleng
Merrie Melodies
“The Censored Eleven” are the unofficial eleven animated shorts that have been banned, censored, or edited from public consumption and haven’t been seen by most in America. While some of the shorts have been released with a commentary about its social and political context, most are strictly taboo. In this limited series, we’ll review the censored eleven and figure out why these titles are still very volatile.
Sunday Go to Meetin’ Time (1936)
Friz Freleng
Merrie Melodies
“The Censored Eleven” are the unofficial eleven animated shorts that have been banned, censored, or edited from public consumption and haven’t been seen by most in America. While some of the shorts have been released with a commentary about its social and political context, most are strictly taboo. In this limited series, we’ll review the censored eleven and figure out why these titles are still very volatile.
Hittin’ the Trail for Hallelujah Land (1931)
Rudolf Ising
Merrie Melodies