By Robert Scucci | Published 27 seconds ago The Humanity Bureau is a perfect example of how a solid idea bolstered by a strong cast can still fall flat if the screenplay has a massive identity crisis. While I can’t fault Nicolas Cage (who can?), Sarah Lind, or Jakob Davies for understanding the assignment, I can most certainly fault the assignment itself, which is a dystopian sci-fi thriller that’s sentimental and contemplative one second, but only before becoming a high-octane action outing that attempts to explore and unpack the existential crisis that’s found at its core. Though we’re talking about a single movie with a single overarching plot, each passing scene made me feel like I blacked out before coming to and finding myself watching an entirely different film on
Author Archives: Robert Scucci
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By Robert Scucci | Updated 1 hour ago Of all the Batman movies that have been released over the past several decades, 1995’s Batman Forever receives what I consider to be a lot of unnecessary hate. Losing points among die-hard Batman fans for being incredibly campy and over-the-top when compared to Tim Burton’s Batman and Batman returns (and Christopher Nolan’s Dark Knight series), Joel Schumacher’s Batman Forever isn’t remembered fondly because it’s not dark and brooding like its predecessors or successors, but rather bright, explosive, stylish, and corny, much like the 1960s iteration of Batman that featured Adam West as the Dark Knight and Burt Ward as Robin. I don’t necessarily see this stylistic pivot as a reason to hate on Batman Forever because when you look at any movie