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‘Beetlejuice Beetlejuice’ is a Solid Slice of Fan Service

Beetlejuice was, in essence, a slyly original movie about ghosts who are stuck in a kind of purgatory. So it’s fitting that a long-gestating sequel to the 1988 classic has been seemingly trapped in development hell as long as the titular bio-exorcist has been, well, dead.Nixed screenplays with titles like “Beetlejuice Goes Hawaiian” and “Beetlejuice in Love” have come and gone; the original screenwriters have passed into heaven’s waiting room; Alec Baldwin has long since aged out of playing 30-year-old hunks; and Tim Burton has spent decades teasing the possibility of a sequel while occupied with more pressing projects like, uh… Dumbo.Now, thirty-six years after Beetlejuice became a morbid hit — a gap equal to the passage of time between Citizen Kane and Star Wars — the aptly titled Beetlejuice Beetlejuice is finally shake, shake, shaking into theaters.
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‘Napoleon’ Review: French Dip
Ridley Scott’s Napoleon marches into cinematic battle with the bluster and confidence that comes with a reported $200-million budget and Sir Ridley’s decades-deep track record of well-mounted action epics.All that money and prestige is visible onscreen in the film’s far-flung locations, hundreds of extras, delectable period costumes and decor, and, as advertised, several massively-scaled scenes of battle, on land and sea, circa 1789 to 1815.Legions of infantry and cavalry clash on various rolling hills of Europe, shot in icy, desaturated blues and grays by Dariusz Wolski, Scott’s cinematographer on his last nine films (though not his next one, Gladiator 2, being lensed by Gladiator d.p. John Mathieson).Against vast fields of green or snow-covered grasses, and CGI-enhanced masses of combatants, soldiers’ coats flash a red that’s many shades brighter than the blood that flows and bursts violently across the screen.The filmmakers spare no visual detail in depicting the bodily devastation of hand-to-hand armed combat — death by bayonet, point-blank gunfire, horse hooves, or long-range artillery.Death here is bloody, disgusting, and woefully unnecessary, but it’s also the main currency of war, and this movie revels in the loud, explosive spectacle of war far more enthusiastically than it casts its feebly critical eye at the men who clamor for it.Above all else, the film renders tribute to Napoleon Bonaparte, portrayed by Oscar-winner Joaquin Phoenix as a shrewd but coarse, fearless, petulant, glowering egomaniac who rises to imperial power fighting and winning wars.
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The Anti-LGBTQ Bile of Speaker Mike Johnson
The New York Times, Johnson, whom the newspaper called “the most important architect of the Electoral College objections,” crafted arguments alleging that certain states’ changes to voting procedures during the COVID-19 pandemic were unconstitutional. Therefore, he argued, the election results from those states should have been invalidated.On Tuesday night, after being nominated, a reporter tried to ask Johnson about his role in pushing to decertify the results of the 2020 election, only to be shouted down by members of the GOP caucus, who told the reporter to “shut up.”Johnson grinned slyly, shaking his head and refusing to answer.Politically, Johnson is a tried-and-true conservative, earning a lifetime rating of 92% from the American Conservative Union and 90% from Heritage Action.He has voted against a host of bipartisan bills, including a measure to establish a January 6 independent commission, and some of the Biden administration’s chief legislative accomplishments, including a national infrastructure funding bill, the reauthorization of the Violence Against Women Act, and the CHIPS and Science Act.Earlier this year, Johnson voted in favor of raising the debt limit, but voted against a bill to avoid a government shutdown in early October.He has previously indicated, in a letter to colleagues shared to social media by U.S.
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