Last night the 3QF cinematheque hosted perhaps its final double feature of the season, Krull vs. The Machine Girl. In an odd bit of unintended synergy, both films featured the same five-bladed starfish weapon. The latter, though, also featured a schoolgirl with a machine gun arm. It's tremendous what they're doing with movies these days.

Food on hand for screening: Crullers and sushi.

Coincidentally, around the same time we were doing all that, Warner yanked Where the Wild Things Are from its release schedule altogether, after having previously shoved the release to late '09. The bulljive is in full swing in the press release, and lord knows I'm no great Spike Jonze fan anyway, but I wonder if we're now ever going to see what he conceived as the proper approach to this unmakeable film - an approach which, regardless of how it turns out, is inherently way more interesting to me than anything that "delivers for a broad-based audience." It's a feature-length adaptation of a 15-page children's story, and if the rumour mill it to be believed, it's gonna have giant walking puppets. Honestly, I don't care if it sucks; I just want to see it. There just aren't enough amazing things in the world any more.

Admonitions like that, however, lead to Hellboy II. And it is, unfortunately, time to report that I don't want any more things to lead to stuff like Hellboy II. I am declaring a moratorium on underwhelm: let's get back to kicking some ass, shall we? Review snippet follows thus:

For all his prodigous gifts with the look n' feel, Del Toro has always suffered from recurring skill gaps in his writing: an over-reliance on form; a lack of substance in his English-language dialogue; a tendency to see hererosocial relations from only the male point of view; and what's with all the clocks? Pan's seemed to herald the completion of a successful leap upward from the young director of able adventure stories like Blade II and even the first Hellboy. With Hellboy II, sadly, all of Del Toro's weaknesses as a writer have come roaring back, and have brought some friends. The thing looks fantastic, but goddamn, this is some piss-poor storytelling.

And full review is here. I can't help but notice that I'm writing a lot more bad reviews these days than good ones. I do hope this isn't because I've become an asshole, which I admit is becoming more and more possible with every film I see. I suppose it's unlikely that every single goddamn thing sucks. HB2 has many admirable qualities and means well, if "meaning well" means to plumb whatever street cred Del Toro has amassed in order to make a nice chunk of summer-movie coin. (I don't even begrudge that. Who wouldn't want to make coin? Coin buys condominiums.) I just want a flick to have appreciable achievement in all areas of filmcraft, not just one or two, y'know? Or at least, transport me so spectacularly into its own idea that I come out unable to help admitting that yeah, that thing was a movie, a thing of the world worth making and bestowing upon others. (Like Wall-E, and in a completely opposite series of ways, like The Machine Girl.) I'd like to stop rounding up.