Obsessed with films and other obscure media. I write sometimes. Member of @ATXFilmCritics letterboxd.com/Jacob_Ethingt…
Joined October 2012
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My latest review for the Hyperreal Film Journal is for David Lowery's latest film MOTHER MARY, which sees him meditating on his two greatest preoccupations: Time and ghosts. The end results are mixed, except for the amazing lead performances and visuals: hyperrealfilm.club/reviews/m…
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I’m so glad that the original cast of Weapons didn’t work out, not only because Brolin is just a better choice for this character than Pedro Pascal was, but that it made sure Pascal had time to be in Eddington in a role he absolutely crushed at. Just a complete win-win.
Weapons is full of top tier line reads but this is one in particular I find myself thinking about often
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Even though I do fall more into the “I liked it” camp on Disclosure Day, my partner pointed out that we’re both still discussing/bringing up Backrooms to each other way more than Disclosure Day, which is an outcome I would never have anticipated.
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Once it’s out in the world more I’ll talk about it in more detail, but my biggest problem with Disclosure Day is that it sets up a lot of compelling ideas and *says* it’s going to do more with those ideas than it feels like the movie is willing to do.
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The more I think about the 3rd act of Disclosure Day, the less I like the movie overall, which is driving me a bit crazy because I think the first half-ish rocks a whole fucking bunch.
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…this has to be one of the biggest film marketing lies of 2026, right?
Apr 16
Steven Spielberg has revealed that the entire third act of ‘DISCLOSURE DAY’ is being kept out of the marketing.
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Oh dear god.
Y’all… These games CONSUME my life. I cannot play the Dragon Quest Monsters games like a normal human being, I lose sleep because all I want to do is synthesize more monsters. People aren’t going to see me in December.
Scout, train and synthesize monsters to discover your new favorite companion in DRAGON QUEST MONSTERS: The Withered World, launching Dec 3 on Nintendo Switch 2 and Nintendo Switch. #NintendoDirect @SquareEnix
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Absolutely fascinated by the choice of what DISCLOSURE DAY’s first shot is. You could have given me a thousand guesses and there’s no way I would have guessed *that.*
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DISCLOSURE DAY: Plays a few too many notes from Close Encounters of the Third Kind over again thematically, but there’s plenty of new ideas that I adore. Cast is great all around (surprise, Wyatt Russell is in this!), but Emily Blunt is *incredible.* Pretty good!
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To expand a bit:
1. Spielberg continues to be unable to shoot a setpiece poorly, hot DAMN does this movie leap to life when he shoots the action
2. Don’t take the Close Encounters comparison too literally, there’s no de-aged Richard Dreyfuss in this (thank god)
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When my partner saw the trailer for this over the weekend before we saw Backrooms, she said it looked like a movie from 15 years ago, and goddamn does it ever. Only thing missing is a more sepia-toned color palette.
Fear the survivors. THE DOG STARS, a Ridley Scott film, starring Jacob Elordi, Josh Brolin, and Margaret Qualley, arrives in theaters August 28.
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Even when forced into the desaturated mid-to-late 2000s apocalyptic color palette, you cannot keep Russell Mulcahy from being one stylish motherfucker.
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A fun thing about seeing Backrooms with my partner (who’s a huge fan of Ginger Snaps) was the way she immediately spotted Katharine Isabelle, who is onscreen for less than 10 seconds, and is in-focus for 2 of those seconds and out of focus for the rest.
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I can’t believe it isn’t discussed more that Allegro non troppo, a parody of Fantasia, has an animated segment set to Stravinsky’s The Firebird, and that Fantasia 2000 ended up using The Firebird as well. The compare and contrast between each segment is, obviously, staggering.
Finally saw Allegro non troppo (1976) last night. Wrote some scattered thoughts about it on Letterboxd, but I want to go long on it eventually. As someone whose favorite film of all time is Fantasia, I adored this parody of it. boxd.it/eFzgz3
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Finally saw Allegro non troppo (1976) last night. Wrote some scattered thoughts about it on Letterboxd, but I want to go long on it eventually. As someone whose favorite film of all time is Fantasia, I adored this parody of it. boxd.it/eFzgz3
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Jacob Ethington retweeted
Jun 3
Yes! Also like, really smart kid
Jun 3
Kane being interviewed asked about gen AI during an interview for the film basically confirmed for me that the AI readings ppl have had for the film are 100% intentional
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The more interviews I see of Parsons, the more I understand why people are so excited about his future potential as a filmmaker. He’s really articulate here, just get him a stronger script and I think he’s going to start delivering all-timers.
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Spoilers for Backrooms:
Am I the only person who thought the way steadicam shots were framed during Captain Clark and Mary’s final confrontation was heavily influenced by Kubrick’s camerawork in the Room 237 sequence in The Shining? Specifically the camerawork here.
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At this exact moment, Kane Parsons reminds me of Gareth Edwards towards the beginning of his career (intensely talented image maker with a background in computer graphics) and I hope Parsons manages to overtake Edwards in one specific area:
Finding stronger scripts to work with.
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I don’t think the script for Backrooms is horrible, it’s rough around the edges in noticeable ways, but Parsons’ filmmaking eye is so unbelievably developed that Backrooms mostly pushes past that problem. I’m salivating at the thought of Parsons working with a stronger script.
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Because man… I still think Gareth Edwards eye for creating staggering imagery is there, but he has managed to dodge a good screenplay for a decade now. I really hope Parsons avoids that fate.
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