Month: July 2021

Cannes 2021: Chaz’s Video Dispatch Table of Contents

The following annotated table of contents features all of publisher Chaz Ebert’s video dispatches from the 2021 Cannes Film Festival, directed and edited by Scott Dummler of Mint Media Works.—The Editors 1. Cannes 2021 Video #1:

Jungle Cruise

In the pantheon of Disney movies based on Disney theme park rides, “Jungle Cruise” is pretty good—leagues better than dreck like “Haunted Mansion,” though not quite as satisfying as the original “Pirates of the Caribbean.”  The

‘Star Wars’ Video Game Fans are Rewarded with a Significant Cameo in ‘The Bad Batch’

Episode 14 reintroduces two critical players, and their arrival equals the Empire’s inevitable destruction.

David Squires on… Alien and the anti-vax crew

The post David Squires on… Alien and the anti-vax crew appeared first on Little White Lies.

The Suicide Squad

The Suicide Squad is, in all but name, a sequel to David Ayer’s 2016 critical catastrafuck Suicide Squad. DC is desperate to wipe the slate clean – we know this because the title is preceded

Watch the 4K restoration trailer for Joseph Losey’s The Servant

Adapted for the screen by revered playwright Harold Pinter and featuring crisp black-and-white photography from legendary cinematographer Douglas Slocombe, 1963’s The Servant stands among the most subversive and thrilling British films ever made. Now, to

Luz: The Flower of Evil

The prologue to writer/director Juan Diego Escobar Alzate’s Luz: The Flower of Evil is an impressionistic kaleidoscope of scenes from a woodland property. We see piles of timber by the foundations of a new house,

Cannes 2021 Video #9: Conversations on the Croisette publisher Chaz Ebert’s ninth video dispatch from the 2021 Cannes Film Festival, directed and edited by Scott Dummler of Mint Media Works, features her interviews with filmmaker Lateef Calloway, Georgian journalists Anano Bakuradze and

In praise of Lucio Fulci’s violent, vengeful Spaghetti westerns

Though primarily known for his visceral horror films, Italian maestro Lucio Fulci worked across many genres. Beginning with a range of comedies in the 1960s, the director’s 50 or so films left few genres untested.


Kudos to Val Kilmer, sort of, for framing “Val” as something other than a record of things that happened. The movie even invokes the idea that fiction is a lie that gets at a greater