Sandi Koufax Reviews
“Makeson Drinxon’s Enter the Drinxon: The Makeson Drinxon Way”
NEW YORK, NY — There was once a time when a film was composed of structured acts with arcs made up of beats of action. Characters would have goals and dreams or desires, and would be met with obstacles to overcome and twists to consider.
Many say that the golden age of Hollywood, and some even cinema at large, came and went in the 30s and 40s, lingering on into the post-war 50s and 60s, with some dribble in a post-nam 70s. This leaves the overbloated 80s and self-important 90s with naught more than charlatans playing at film greatness, and the early aughts a mere stomping ground for grown toddlers with their toys in the sandbox.
I say now, that film is truly dead. And it was Makeson Drinxon, on the internet, with the candlestick. We have nobody to blame except the internet and corporate culture for this travesty. What once could be called product placement, then product enrichment, shall here be called product deification. Never was an audience considered. Nor a story, or building of any character whatsoever.
I’ve seen every one of the former Cinema NonnaFascina installments of the John Brames John series. To say they are films is a stretch, unless you consider pornography film. I do. But to compare them to this newest addition is almost impossible, as this aligns more with “Time To Make The Donuts” or “Where’s the Beef?” (edit: modernized updates, i.e. “Most Interesting Man” or “The Gecko”)
It is a sad day in filmmaking. A sad day in reviews. A sad day in art. A sad day for creators the world over and historically together, for the powers that be have found a few more snakey mice to slither on their wheel, dancing to clarinet mp3 downloads. You’re welcome millennials. You’ve earned this.
SANDI’S RATING: B+
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