Yeah, I actually prefer Scorcese's more recent stuff to be honest.

Rad!  Thanks for liking it.  The feedback to this was mixed so I'm glad you dug it.

Here's the indiegogo page for Batkid Begins.

https://www.indiegogo.com/projects/batkid-begins

Also...this films Editor is Kurt Keunne.  Director of Dear Zachary.

Nope.  They're not involved.  Like, at ALL.  Marvel Studios has absolutely zero say in what Sony does with Spider Man and with what Fox does with X-Men.  If they did, Spider Man and Wolverine would both be in Avengers movies tomorrow (because in the comics at least, they're Avengers).  It is for this reason why Marvel Studios, as we know it in its post 2006 iterations, exist at all.  Time for some history, kids.

Go back to 1996.  Marvel Comics, for a multitude of reasons we'll just sum up as, "The 90's, am I right," declares bankruptcy.  Avi Arad was the co-owner of Toy Biz, who had been doing all of Marvel's toy licensing, successfully maneuvers himself onto Marvel's Board of Directors, and founds Marvel Studios (formerly Marvel Films) as a way to make some fast cash for the failing company.  He licenses out Blade to New Line and does decent business, causing other studios to get interested.  Arad helped snag Singer for X Men, which helped broker the Fox deal, and soon after got Spider Man to Sony, partially off the back of James Cameron's work on his never fully developed Spider Man treatment.  Arad's number one goal was simply getting cash for Marvel and getting it the fuck out of the red, so he had no problem loaning our characters to different studios.  The problem with these deals is that they were licensing deals, with very little in terms of back end profit.  Marvel made money off other licensing, but they're share of GBO was virtually non existent.

After a failed mass licensing of characters to, fucking get this, ARTISAN PICTURES, a now reinvigorated Marvel was realizing just how much money they were losing by not developing these films themselves.  After disagreements on the nature of these deals, Arad left on 2006 to set up his own shingle, and Feige was put in charge.  His vision was to create an ACTUAL movie studio with a Marvel brain trust (guys like Joe Quesada and Brian Michael Bendis, and now Ed Brubaker) to guide the overall arcs of these characters, partner with distinct directors and writers, cover most of developmental, and rely on larger studios primarily for co financing and distribution.  The Disney sale didn't really impact their workflow too much; they had to buy out the distro deal with Paramount (made post Arad) but nothing could be done about the deals with Fox or Sony.  As long as they make movies from those properties every few years (which is the REAL reason Spider Man got a reboot, because Raimi didn't wan tot do it anymore and no other director wanted to continue his work and they were about to lose the license back to Marvel) those characters are locked in indefinitely.

So, what creative control does Marvel comics have over Sony's Spider Man or Fox's X-Men or Fantastic Four?  Not fucking much.  If there's a scene where Spider Man bludgeons Aunt May with a tire iron, Marvel could sue for IP damages, but that's about it.  Rumblings I've heard is that Quesada fucking HATED the last two Spider Man movies, but the X Men First Class and DoFP are pretty well respected. 

tl;dr version: If Marvel/Disney had any creative control over non MS films, they would have exercised prior to the Disney sale.

Try Valley Village.  I used to live there, there's some cheap apartments to within that cozy little neighborhood and a ton of dogs.

Just want to stand up and clap and applause everyone's efforts.  I'm ridiculously behind on a few side projects right now and I had to force myself away from this thread.  Doesn't mean I don't love ya, Zarbs.

Fixed it for you.

Ok, Dr. Mengele.

If you think that is anywhere near the same ballpark as what Shallit does, or even worse, that he's SUPPOSED to do what Shallit does, I don't even know what to say.  I know I'm a smudge biased because I'm friendly with Drew, but like Kael, like Siskel, like A.O. Scott, I consider this more Film Curation then anything else.  It's not explicit review, nor is it frame by frame analysis.  But in writing about film it's a bit of everything.  Like Paul gets real skittish about Taxonomy of film, I get very aggravated about Taxonomy of film reviews (for some weird reason, and I get that it's weird).  All I know is that I appreciate this BECAUSE of the immersive connection, the deep dive into the film.  I can't say I see the same with CinemaSins and the ilk.

Those aren't faceless, those are Ultron.

Okay, now Natasha Khan is just fucking with me.  After reading an interview with her I realized that THIS:

Was inspired by THIS:

Please, no one ever show her A Serbian Film