CINEMA GARITE:

using cinema as enema

to flush out and purge

Zone War “scholar”,

Gary W. “Gardevil” Wright

 

by Doktor A.I. Smithee

 

        For too many twilit decades, the literary and film artists of the dread allegorical Zone Wars used their fiction and film art to rage and battle over the helicopter crash that killed actor/director/writer Vic Morrow and child extras Renee Chen and Myca Le at around 2:20 am in the morning of July 23, 1982 on the Vietnam War era village set of the George Folsey jr. produced John Landis episode of the twilit, allegorical, computer generated imagery (CGI) enhanced, Kathleen Kennedy associate produced and Frank Marshall executive produced Landis, Joe Dante, George Miller and Steven Spielberg film TWILIGHT ZONE: THE MOVIE (1983).  While never hiding their implicit intentions, the fiction and film artists of the dread Zone Wars were able to hide in plain view, as most audiences, critics and reviewers did not or simply refused to understand the implicit intent of their twilit and allegorical fiction and film art.  Tragicomically, that visible invisibility ended in 2010 when a lone film “scholar”, one Gary W. “Gardevil” Wright-the fan with no fear-based in the Streetsville area of Mississauga, Ontario, suddenly appeared on the world wide web with his ‘insightful’ site, www.zonewarsonfilm.com, that featured a book length look at the film art of George Walton Lucas jr. and various ‘enlightening’ essays on the other main allegorical fiction and film artists of the dread Zone Wars. 

 

Significantly, this twilit “enlightenment” clearly struck a sensitive nerve, as Jason Reitman soon implicitly roasted him and his “perceptive” site in the symbolic form of Charlize Theron’s equally haunted and unhappy YA author, Mavis Gary, in his allegorical film YOUNG ADULT (2011), a film that resembled and was also implicitly inspired by the allegorical and implicitly Alfred Hitchcock and Arthur Penn addressing Francis Coppola film THE RAIN PEOPLE (1969).  As YOUNG ADULT proved to be only the first of a new sub-genre of films within the Zone Wars implicitly devoted to addressing the “scholarly” ravings of the poor ol’ Gardevil (POG), clearly it was best to devote an equally insightful essay to this implicitly garish and tragicomic new sub-genre in an attempt to better understand why a Gar had been born.  Unfortunately, however, this wrightmarish new sub-genre of film art did not arrive out of the blue, as a number of eerily garish and prescient films released in the years before 2010 had implicitly and uncannily heralded the arrival of Gardevil in yet more ominous memories of the future, starting with the twilit and allegorical John Boorman film EXCALIBUR (1981), a film released on April 10, 1981 whose unintentional hilarity at times confirmed that the allegorical Terry Gilliam and Terry Jones film MONTY PYTHON AND THE HOLY GRAIL (1975) was indeed an implicit roast of New Hollywood film artists.

 

“You and the land are one. 

Drink.”

 

        Indeed, the all too human weakness of the implicitly Marcia Lucas linked Queen Guenevere and the implicitly Mark Hamill linked but tall and James Cameron anticipating Sir Lancelot-played by Cherie Lunghi and Nicholas Clay, respectively-and the malicious witchery of the malevolent Morgana-played by Helen Mirren-that destroyed the health, peace and tranquility of the implicitly New Hollywood linked Camelot of the Lucas resembling and implicitly linked King Arthur-played by Nigel Terry-anticipated the depression, disease and disharmony that would destroy New Hollywood and box office king Lucas after the TZ disaster, the audience rejection of the twilit, allegorical, CGI enhanced, Ozian themed, Lucas executive produced and implicitly Spielberg roasting Richard Marquand film STAR WARS EPISODE VI: RETURN OF THE JEDI (1983), and the adulterous infidelity of his wife, Marcia, that would lead to the Great Divorce of 1983.  The dangerous, difficult, lonely and solitary but ultimately successful Quest of the implicitly Walter Murch linked and perseverant common thief turned Grail Knight, Sir Perceval-played by Paul Geoffrey-to find the Holy Grail and bring back the divine chalice to heal King Arthur and Camelot also implicitly anticipated the equally dangerous, difficult, lonely, solitary and perhaps one day successful Quest of the poor ol’ perseverant Gardevil to bring allegorical knowledge, health and harmony back to audiences, film art, film artists and the Temple Theatre with his film “scholarship” so as to free Chen, Le and Morrow from the Twilight Zone…forever. 

 

Alas, the sight of Sir Perceval standing on shore literally watching the era of King Arthur recede in front of him and the Dark Ages begin in England as the funeral ship carrying the body of Arthur sailed off into the obscuring mists of legend at the end of the film also anticipated all too well the shocked and angry despair of the original Jedi Knight audiences and the poor ol’ teenage Gardevil as they watched the Skyrocking era of Lucas recede in front of them and the dread allegorical Zone War era begin in 1982-83.  Significantly, these prescient forebodings of the arrival of an equally perseverant real life Grail Knight returned in the implicitly personified form of the sturdy and stalwart Gar-played by Ben Hammer-the adoptive father of the indomitable and also Cameron anticipating Dar-played by Marc Fisher-in the eerily twilit, prescient and allegorical Don Coscarelli film THE BEASTMASTER (1982), a film released only a month after the TZ disaster in August of 1982. 

 

Unfortunately, the mid-Eighties brought more eerily and ominously garish premonitions, with Gary-played by Geoffrey Blake-turning up in the twilit, allegorical, CGI enhanced and implicitly Lucas addressing Nick Castle film THE LAST STARFIGHTER (1984), dull and square Gary Glass-played by Mark Blum-showing up in the twilit, allegorical and implicitly David Lynch roasting Susan Seidelman film DESPERATELY SEEKING SUSAN (1985), and a sound effects editor named Gary Wright turning up in the end titles for the twilit, allegorical, CGI enhanced, implicitly Lynch addressing and Kennedy, Marshall and Spielberg produced Barry Levinson film YOUNG SHERLOCK HOLMES (1985).  Eerily prescient and garish forebodings that continued when Allan Moyle and company kicked off the Nineties with their irrepressible, indomitable, full throttle, hard talking and implicitly Francis Coppola addressing allegorical film PUMP UP THE VOLUME (1990), a film released on August 22, 1990 that evoked the dissatisfied and allegorical Don Owen film NOBODY WAVED GOODBYE (1964) and the equally dissatisfied, allegorical and implicitly Coppola roasting Richard Rush film GETTING STRAIGHT (1970), making it fitting that PUMP UP THE VOLUME was released in the twentieth anniversary year of that latter film.

 

“This is deep-

your message is out there!

…You’re the voice you were waiting for!”

 

        Eerily, no other character in any other allegorical Zone War film eerily and implicitly anticipated the arrival of the cranky, gloomy, indie, righteously furious and constantly ranting DIY Scrappy Gary Gardev than Christian Slater’s equally cranky, gloomy, indie, DIY, mysterious, morose, righteously furious, constantly ranting, irrepressible, Great Oz evoking and implicitly Coppola linked transplanted New Yorker and Hubert H. Humphrey (HHH) High School student Mark Hunter aka teenage pirate radio DJ “Happy” Harry Hardon (also HHH), who evoked Elliot Gould’s equally memorable, righteously furious, constantly ranting and also implicitly Coppola linked Vietnam war vet and college student “Happy” Harry Bailey in GETTING STRAIGHT to affirm his implicit link to Coppola.  Indeed, HHH ably anticipated, as PUMP UP THE VOLUME was one of the leading films of the dread Zone Wars, with an awesome, shrewd, knowing and fearless screenplay, inspiring direction, great cinematography, sound, music, lighting, costumes and sets, and a fine, inspired and talented young cast who rose up superbly to the challenge and graced the screen with moving and memorable performances.  The performances were helped along by a great screenplay, for from the first cynical line “…do you ever get the feeling that everything in America is completely fucked up?”, to the last defiant line “…turn on the truth!”, PUMP UP THE VOLUME had most of the best lines of the entire dread allegorical Zone Wars. 

 

Having the good fortune to utter most of these lines was Hunter, whose bored, depressed, sarcastic, honest, angst ridden and always twilit and Zonebusting rants on the air came while on his pirate radio station in his room deep down in the turbulent subconscious depths of his parents’ home high in the Hollywood Hills evoking heights of the suburb of Paradise Hills, Arizona-naturally!-given that the telltale “zone” in Arizona implicitly affirmed that this film was inspired by and ranting about being trapped in the Twilight Zone by the TZ disaster.  As Wright worked as a Library Technician at Streetsville Secondary School in Mississauga, Ontario, it was nice to see that the film was actually created in Saugus High School in Santa Clarita, California rather than HHH and that “Happy” Harry liked dropping by the school library, signing out and reading books like Lenny Bruce’s posthumous autobiography, How To Talk Dirty And Influence People (1967), naturally published the year Wright was born, affirming that “Happy” Harry presciently anticipated Scrappy Gary.

 

This implication that “Happy” Harry anticipated Scrappy Gary was reaffirmed by the fact that the favourite target of HHH’s righteous rants were the dastardly, diabolic, twilit and implicitly Kennedy, Marshall and Spielberg linked trio of the implicitly Wicked Witch of the West linked Principal Loretta Creswood, bionic head guidance counsellor David Deaver and the obsequious and implicitly Nikko the flying monkey King linked Vice Principal Murdock-played by Annie Ross, Robert Schenkkan and Andy Romano, respectively-who were discovered and revealed to be illegally profiting off the forced expulsion of “problem” teens from Hubert H. Humphrey High School-making HHH literally the righteously indignant heart, mind, soul and voice of HHH.  Of course, illegally profiting from discarded teens reminded us that Kennedy and Spielberg profited after 1982 from the disappearance of Chen, Le and Morrow with TZ disaster themed Zone War film art.  To support the implicit meaning of the film, a license plate in the film was seen to end with the fateful numbers 723, openly linking PUMP UP THE VOLUME to the July 23, 1982 date of the TZ disaster.

 

Of course, the first name of “Happy” Harry’s bewitching girlfriend, Nora Diniro-pronounced “De Niro”, and played by Samantha Mathis-evoked that of Eleanor Coppola, while her surname evoked that of Robert De Niro, implicitly reaffirming Hunter’s link to Coppola, an implication affirmed by an extra who resembled and was implicitly linked to Sofia Carmina (SCC) Coppola, and ironically reaffirming Coppola’s crusade against the twilit and CGI enhanced blockbuster beast, as both Diniro and De Niro evoked “dinero”, the Spanish word for money.  Last but not least, the name of James Hampton’s FCC bigwig Arthur Watts not only linked the film to EXCALIBUR and implied that Watts symbolized Lucas, a good friend of Lucas, but also evoked Robert Watts, a producer who had worked with Lucas on the Indiana Jones Trilogy, reiterating the implicit link of Watts to Lucas and of Hard Harry to Coppola.

 

        Thus, the triumph of Diniro and Hunter over the Wicked Principal Creswood, Deaver the Cleaver and Monkey King Murdock anticipated the triumph of Wright and his film “scholarship” over Kennedy, Marshall and Spielberg, in the end.  As such, how apropos that a student wearing a Delta school jacket was seen in the crowd of teens watching as Hard Harry was driven off to jail at the end of the film and that the initials of Nora Diniro were “N.D.”, for it reminded us that Wright was born in North York, ON but grew up in the northern part of Delta, BC.  How also appropriate that HHH’s favourite musical artist was Leonard Cohen-particularly the wryly bitter and allegorical tune “Everybody Knows” (1988)-and that Moyle, the film artist that created PUMP UP THE VOLUME, was also Canadian, reaffirming the prescient link of Harry to Gary.  As such, PUMP UP THE VOLUME was the ultimate prescient cinematic anticipation of woebegone Wright, and one that with question inspired the poor ol’ Gardevil in his cyber rants.  For the message was still out there, and the truth was still a virus that needed to infect the world-and the Temple Theatre.  Awww…live hard, think hard, write hard, blog hard, talk hard, luv hard-and turn up the truth!  Eerily garish prescience also appeared in the twilit, allegorical, CGI enhanced and Ozian themed Robert Longo film JOHNNY MNEMONIC (1995), released on May 26, 1995 and inspired by the “cyberpunk” literary art of William Gibson.

 

“And believe it,

they did not want you

 to get this information.”

 

For the sight and sound of Johnny “Just Johnny” Mnemonic aka John Smith aka John Kalmann-played by Keanu Reeves-uploading to the internet the Pharmakom data that he was carrying in his head in his biodigital memory implant that helped resolve the Nerve Attenuation Syndrome (NAS) crisis that was plaguing the world, in the end, presciently anticipated the sight and sound of Wright uploading his equally priceless Zone War “insight” on the internet, even if Johnny was really implicitly linked to Stanley Kubrick.  Indeed, the fact that JOHNNY MNEMONIC was mostly filmed in Toronto-with a brief stop at Square One shopping mall in Mississauga-and alluded to another Canuck film also filmed mostly in Toronto, the eerily and presciently twilit and allegorical David Cronenberg indie docufeature film VIDEODROME (1982), thus openly linking the film to the twilit and disastrous year of 1982, affirmed its eerily garish prescience.  And of course, the presence of Dan Eisenstein’s teenage John Candy lookalike Donald in PUMP UP THE VOLUME no doubt helped influence the all too eerily prescient appearance of another indomitable, haunted and POG anticipating sadolescent Zonebuster named Donald who implicitly battled for the truth and for the end of the dread Zone Wars in the brilliant and confident twilit, allegorical, CGI enhanced and PUMP UP THE VOLUME evoking Richard Kelly indie docufeature film DONNIE DARKO (2001), released on January 19, 2001.

 

“Our paths through life

 must be righteous.”

 

        Indeed, the sight of the depressed, confused, troubled and implicitly Lucas linked Catholic school sadolescent, Donald “Donnie” Darko-played by Jake Gyllenhaal-deciding in the end to allow God to send a classic Einstein/Hawking worm hole to pull him back in time in order to be killed in his lonely bedroom when a jet engine from a passing plane fell on his parent’s house so that his teen and implicitly film art linked sweetie Gretchen Ross-played by Jena Malone-would live not only implicitly symbolized the belief of Kelly that Lucas had killed himself trying to save film art with the twilit, allegorical, CGI enhanced, Ozian themed and implicitly Cameron and Spielberg roasting indie film STAR WARS EPISODE I: THE PHANTOM MENACE (1999) and implied the wish of Kelly that he could also travel back in time so as to be the one killed by the falling helicopter in the TZ disaster in order to save Chen, Le and Morrow and liberate audiences, film art, film artists and the Temple Theatre from the dread allegorical Zone Wars-an interest in the Zone Wars implicitly affirmed by the film’s many allusions to TWILIGHT ZONE: THE MOVIE, the TZ disaster and the fact that the surname of Gretchen Ross evoked that of Steve Ross, the head of Warner Brothers, the studio that produced and reluctantly released TWILIGHT ZONE: THE MOVIE-but also anticipated the sight and sound of the equally troubled, wistful and guilt stricken Wright killing himself trying to unravel all of the cinematic and fictional allegories of the dread allegorical Zone Wars.  Thus, it was fitting that Katharine Ross played Darko’s psychiatrist, Doctor Lilian Thurman, given that Ross played rebel bride Elaine Robinson in the allegorical Mike Nicols film THE GRADUATE (1967), released the same year that saw the birth of the gruesome Gardevil.

 

At any rate, what wistful, haunted, despondent, angry, frustrated and determined Zonebuster could resist an equally wistful, haunted, despondent, angry, frustrated, determined, sweet, earnest and book loving film like DONNIE DARKO, particularly an indomitable Zonebuster who had always uneasily and guiltily understood that the impressive special effects explosion that took down the Huey helicopter on the Landis set in the early morning hours of July 23, 1982 was meant for his Boomer kid generation and himself-soi disant Gen X-thus, making his generation and himself partially responsible for the TZ disaster?  Clearly, the poor ol’ Gardevil could not.  Indeed, this fine film was one of his favourite and most inspirational films, on top of being still perhaps the finest and most moving film of the new millennium, making it fitting that Gary Jules provided the vocals for the Mark Andrews composed version of the allegorical and Roland Orzabal penned Tears For Fears tune “Mad World” (1982) that closed the film.   Making it doubly fitting that Kelly was implicitly linked to Matthew “Matt” Murdock aka “Daredevil”-played by Scott Terra as a lad, and Ben Affleck as a laddish man, respectively-in the twilit, allegorical, elektrafying and CGI enhanced Mark S. Johnson super satirical animaction film DAREDEVIL (2003), a film released on February 9, 2003 about a man with no fear that was inspired by an equally fearless character implicitly linked to John F. Kennedy jr. who was created by Stan Lee, Bill Everett and Jack Kirby for Marvel Comics and a film that ominously anticipated the arrival of a fan with no fear that some called Gardevil in one of the most eerily prescient memories of the future of the entire dread allegorical Zone Wars. 

 

“I’m sure you’ll do the right thing.”

 

        Indeed, the fact that the tragic accident that took the eyesight of Murdock forced Daredevil to use his mind, heart and soul to finally and truly see without seeing with the help of his touch, taste, smell and, in particular, his transformed and radar evoking hearing, reminded us that you needed inner qualities like intuition, imagination, insight and intelligence working in unison with your emotional heart and sturdy soul if you expected to truly see and understand the world, solar system, galaxy and universe around you and use that understanding to unravel allegorical art like the poor ol’ Gardevil.  !And if you just ate fantastic vegan fare, cut down on sugary junk foods, cigarettes, drugs and alcohol, drank lots of water and organic  coffee, juice and tea, and enjoyed regular exercise, you too would become an indomitable and knowing superhero like Daredevil and Gardevil!  Literally, as Affleck went on to play a troubled, haunted, batty and implicilty Gardevil linked superhero in some super satirical animaction films to come in another eerily prescient memory of the lamentably garish future.

 

     Making it all too eerily fitting that the year before the release of DAREDEVIL the implicitly Ivan Reitman linked Oscorp CEO Norman “Green Goblin” Osborn-played by Willem Dafoe-exultantly crowed “…speak of the devil!” when the geeky, weird and implicitly Cronenberg linked teen Peter “Spider-Man” Parker-played by Tobey Maguire-turned up for their second showdown in the twilit, allegorical, CGI enhanced and implicitly Cronenberg toasting and Reitman roasting Sam Raimi super satirical animaction film SPIDER-MAN (2002) when the film was released on April 30, 2002, for the caustic comment presciently prepared the way for an implicitly Gardevil linked Spidey to come.  Clearly, the haunted and troubled but forceful Fours were flowing all too well as we headed toward the arrival of the POG on the internet in 2012, a flow implicitly reaffirmed by Sarah Sugarman’s eerily Wright anticipating and supporting allegorical docufeature film CONFESSIONS OF A TEENAGE DRAMA QUEEN (2004), released on February 17, 2004.

 

“I’m the kind of riffraff

 they try to keep out.”

 

        A kinder and gentler version in classic Disney fashion of the allegorical Brian De Palma film CARRIE (1976), a film that was an implicitly and righteously furious roast of blockbuster obsessed New Hollywood film artists, CONFESSIONS OF A TEENAGE DRAMA QUEEN saw Lindsay Lohan’s implicitly Carrie White and possibly SCC linked and Gary Wright anticipating Mary “Lola” Steppe face down and triumph over Megan Fox's implicitly Nicole Richie linked Carla Santini and Ashley Leggat’s implicitly Paris Hilton linked Marcia in the end by being chosen to play Eliza Doolittle in ELIZA ROCKS, the Dellwood High School year end play, a reimagined version of the allegorical George B. Shaw play PYGMALION (1913).  Indeed, the sight and sound of Steppe’s family moving at the beginning of the film from a Toronto linked New York-literally, as most of the film’s New York scenes were actually filmed in Toronto-to Deadwood, a Mississauga linked suburb of New Jersey-literally, as the Deadwood Mall scenes were actually filmed at Erin Mills Town Centre in Mississauga just up the street from the closet of the poor ol’ Gardevil-to attend a high school that looked like the Streetsville Secondary School in the Streetsville area of Mississauga where Wright worked as a Library Technician affirmed the terrifying prescience of the film.  The fact that Cep rode around her Streetsville evoking suburb of New Jersey on an orange bicycle with a black saddle reiterated the film’s prescient interest in SSS, as Hallowe’en-and Eye of the Tiger-orange and black were the colours of the school.

       

        Curiously, more eerie intimations of the arrival of Spider-Wright returned in the twilit, allegorical and CGI enhanced Raimi super satirical animaction film SPIDER-MAN 3 (2007), released on April 3, 2007.  For early in the film, a director or producer-played by either Tim Maculan or Marc Vann-of a play that Mary Jane “M.J.” Watson-played by Kirsten Dunst-had been performing in until she was fired said “…well, Gary was supposed to call her agent”.  Later, before his death at the end of the film, the implicitly Justin Timberlake linked Edward “Eddie” Brock jr. aka Venom-played by Topher Grace-also said straight to the face of the implicitly Cronenberg linked Peter “Spider-Man” Parker-played again by Maguire-“…you’re so right”, openly and accurately anticipating a time when Spider-Man was implicitly Wrighter-Man. 

 

     Alas, nightgarish memories of the future continued the following year when a character named Gary-played by Zachary Booth-who struck Norah Silverberg-played by Kat Dennings-as being “…real deep” haunted the twilit and allegorical Peter Sollett indie docufeature film NICK & NORAH’S INFINITE PLAYLIST (2008), a film released on September 6, 2008 that also included a character named Lethario aka “Beefy Guy” who was played by Jonathan B. Wright, a fitting name as you don’t wanna B. Wrong, you know what I mean?  This disturbing trend continued the following year when the all too presciently surnamed Marcus Wright-played by Sam Worthington-teaming up with the implicitly Cameron linked John Connor-played by Christian Bale-to resolutely and unflinchingly battle the beastly and CGI enhanced blockbuster machine in the eerily prescient, twilit, allegorical, CGI enhanced and Ozian themed McG indie animaction docufeature Zonebuster TERMINATOR: SALVATION (2009), released on May 14, 2009. 

 

Clearly, troubling and terrifying memories of the nightmarish future that anticipated the horrifying arrival of this Zonebusting site and the poor ol’ Gardevil were already bedeviling the shocked and sleepless minds of the film artists of Gollywood and troubling their sleep with garrifying wrightmares, an implication reaffirmed by the arrival of the eeriloy surnamed Edgar Wright and his wrightmarishly prescient, twilit, allegorical and CGI enhanced indie docufeature super satirical animaction film SCOTT PILGRIM VS. THE WORLD (2010), released on July 27, 2010 and inspired by the possibly Cameron addressing Scott Pilgrim narrative art series by Bryan Lee O’Malley.

 

“Consider our fight-begun!”

 

        For the sight of Michael Cera’s quintessential Crazy Canucklehead, Scott W. Pilgrim, takin’ on and takin’ out Jason Schwartzman’s implicitly Stan “the Man” Lee linked indie music producer Gideon Graves-in a film openly set in the mysterious land of Toronto, was definitely the most ominously prescient memory of the poor ol’ Toronto born Gardevil takin’ on and takin’ out Evil Hollywood film artists and studios film yet.  Even if Pilgrim was actually implicitly linked to young Reitman, and the film was implicitly celebrating the triumph of the indie film art of young Reitman over the beastly CGI enhanced blockbuster film art of Disney, Lee and Marvel, making it fitting that Cera openly linked Pilgrim to Reitman via his role as Paulie Bleeker in the twilit, allegorical and slightly CGI enhanced Reitman indie docufeature film JUNO (2007).  The fact that Pilgrim’s sister, Stacey Pilgrim-played by Anna Kendrick, who also openly linked the film to Reitman via her role as Natalie Keener in the twilit, allegorical and slightly CGI enhanced Reitman indie docufeature film UP IN THE AIR (2009)-resembled and was implicitly linked to Reitman’s sister, Catherine Reitman, the fact that Pilgrim’s fake high school girl friend, Knives Chau-played by Ellen Wong-resembled and was implicitly linked to Reitman’s then wife, Michele Lee, and the fact that Pilgrim’s dream girl, Ramona Flowers-played by Mary E. Winstead-resembled and was implicitly linked to Reitman’s favourite and JUNO scribblin screenwriter, Diablo Cody, reaffirmed the implicit link of Pilgrim to Reitman.  Last but not least, the fact that Brandon Routh, who played the terrible and possibly David Cronenberg linked Todd Ingram, the Vegan powered third Evil ex- of Flowers, had played the implicitly Reitman linked Clark “Superman” Kent in the twilit, allegorical and CGI enhanced Bryan Singer super satirical animaction film SUPERMAN RETURNS (2006) also affirmed the implicit Reitman addressing and super satirical film roasting intents SCOTT PILGRIM VS THE WORLD.

 

        In addition, the fact that the film’s rockin’ soundtrack was fittingly mostly created by Toronto based film artists like Metric and the beautiful, beatific and half-Canadian Beck reaffirmed that a Canadian film artist linked to Toronto was being roasted and toasted in SCOTT PILGRIM VS THE WORLD.  Last but not least, given that the film implicitly took on and took out Disney, Lee and Marvel, it was also ironically fitting that Chris Evans appeared in the film as the fittingly surnamed and curiously Eastwood evoking Lucas Lee, the second Evil ex- of Flowers, given that Evans was already linked to Lee and Marvel via his role as John “Johnny” Storm aka “the Human Torch” in the twilit, allegorical and CGI enhanced Tim Story super satirical animaction film THE FANTASTIC FOUR (2005) and reappeared the following year as the again implicitly Eastwood linked Steve “Captain America” Rogers in the twilit, allegorical and CGI enhanced Joe Johnston super satirical animaction film CAPTAIN AMERICA: THE FIRST AVENGER (2011), released on July 19, 2011.  At any rate, shortly before the release of that latter film, Ernest Cline again ominously and eerily anticipated the arrival of the grisly Gardevil with his twilit, allegorical, CGI enhanced and Ozian themed indie animaction novel Ready Player One (2011), released on August 16, 2011.

 

““Parzival, eh?”

She tilted her head slightly.

“Named after the knight of the Round Table

who found the Grail, right?””

 

For while the novel ostensibly chronicled the adventures of the comic/film/pop song/television/video game obsessed and implicitly Quentin Tarantino and Scarecrow linked Wade Watts aka “Parzival” and his desperate quest to crack three riddles and find the Easter egg prize left in the OASIS online universe by its creator, the mysterious and implicitly Gibson and Great Oz/Wicked Warlocck of the East/Glinda linked James Halliday, with the help of the implicitly Daniella Pick and Dorothy linked Vancouver resident Samantha Cook aka “Art3mis”, the implicitly Toto linked Akihide Karatsu aka “Shoto”, the implicitly Tin Man linked Toshiro Yoshiaki aka “Daito”, the implicitly Cowardly Lion linked Helen Harris aka “Aech”, and the implicitly Nikko linked Ogden “Og” Morrow, the tragicomic quest of Watts also evoked the equally tragicomic quest of Wright aka Perceval to solve the riddles of all of the films and novels of the dread allegorical Zone Wars so as to figure out what the heck really happened on the Landis of TWILIGHT ZONE: THE MOVIE on July 23, 1982.  Which was not surprising, given that the novel’s obsession with the allegorical fiction, films, music and videogames of the Skyrocking Seventies and the twilit Eighties, its Morrow evoking Ogden “Og” Morrow, its open link to Toronto via Rush and its implicit link to Toronto via the dread Sixers of the CBC evoking Innovative Online Industries aka IOI-a link to the CBC implied by the Jonathan Torrens and Toronto evoking and implicitly Wicked Warlock of the West linked baddie Nolan Sorrento-and its open link to Vancouver, which was the home city of Cook, anticipated the arrival of the poor ol’ Gardevil a little too well. 

 

Thus, the fact that Watts completed his quixotic quest, found the stainless steel Easter egg and became the new great and powerful new ruler of the OASIS, in the end, not only implied the hope of Cline that the controversial but vital humanity of the indie docufeature film art of Tarantino would triumph over the CGI enhanced blockbuster beast but also anticipated Wright completing his equally quixotic quest, as well.  Curiously, in order to complete the quest and triumph over the sinister Sorrento, Watts had to die and then be brought back to life with an unexpected extra life, reminding us that Pilgrim also died and was then brought back to life with an unexpected extra life that allowed him to triumph over the grisly Graves at the end of SCOTT PILGRIM VS THE WORLD.  That ominous link made, the implicit interest in Cody and Reitman in SCOTT PILGRIM VS THE WORLD then made it all too fitting that Reitman teamed up again with Cody and returned to the Temple Theatre with YOUNG ADULT, released on December 9, 2011.

 

“You’re better than this.”

 

        For the tragicomic sight and sound of Charlize Theron’s diehard mean girl, struggling young adult writer and Wicked Witch of the West wannabe Mavis Gary peevishly accepting an invitation to leave her tiny and untidy cell of an apartment in a building on Marquette Avenue overlooking the Mississippi River in the mini-Apple of Minneapolis, Minnesota and driving in her red, white and true Mini to her star linked hometown of Mercury, MN with her film art evoking Pomeranian, Dolce, while constantly playing and replaying the allegorical Teenage Fanclub tune “The Concept” (1991) like Shirley Knight’s Natalie Ravenna drove off from her problems in the Big Apple of New York and into the country in THE RAIN PEOPLE to pretend to welcome and attend the christening of the baby daughter of her ex-high school sweetheart, Buddy Slade, and his wife, Beth-played by Patrick Wilson and Elizabeth Reaser, respectively-while instead trying to destroy the Slade marriage and win Buddy back to her, only to bitterly, furiously and sarcastically denounce the baby, Buddy, Beth, her other friends, family members and the star linked town of Mercury as a whole when Buddy turned down her offer, and drive back to the mini-Apple alone-all of the while pointedly avoiding answering any phone messages about the cancellation of her Waverly Prep young adult series from her publisher, Jim, a name that evoked that of James Caan’s injured college football player Jimmy “Killer” Kilgannon in THE RAIN PEOPLE and voiced by Simmons in another lucky charm role, as she was in denial of the cancellation-evoked a similar, real life nasty incident and person.  Indeed, the allegorical film reminded us that in September of 2010, thirteen months before the December 2011 release of YOUNG ADULT in theatres, the poor ol’ Gardevil had accepted an invitation sent out via newspapers to the world and to itself in his tiny and untidy cell of an apartment overlooking the Credit River in Mississauga, Ontario to attend the opening and christening of the new permanent headquarters of the Toronto International Film Festival (TIFF) at the corner of King and John streets in his star linked hometown of Toronto.  Accordingly, he drove up to Toronto with a good friend from that cell of an apartment in Mississauga to attend the grand opening and ‘christening’ of the spanking new TIFF building. 

 

Things started off well, but quickly turned sour when Wright looked through the free TIFF souvenir magazine and pondered a list of what TIFF believed to be the One Hundred Essential Films.  Noticing that TIFF had only two and a half allegorical Canadian films-Michael Snow’s WAVELENGTH (1967), David Cronenberg’s VIDEODROME (1982) and John Huston’s THE MALTESE FALCON (1941)-the poor ol’ Gardevil had a righteously furious conniption and hit the roof, convinced that TIFF had deliberately snubbed Canadian film art, Canadian film artists, and the Toronto, Ontario and Canadian taxpayers who had mostly paid for the permanent TIFF headquarters.  Not surprisingly, later that night, when the persnickety film “scholar” returned to that tiny cell of an apartment in Mississauga still trembling in hersterical fury, he wrote a righteously furious and nasty letter blasting the implied insult to all Canadians trashing TIFF, TIFF CEO Piers Handling, TIFF second-in-command Cameron Bailey and the Reitman clan who had donated the land and some money for the TIFF headquarters, a furious letter signed by him and with his name and address on the return address of the envelope.  In addition, legend has it that in the months that followed, Wright also wrote and mailed several more righteously furious letters, some disguised by being put into different sized and coloured envelopes with spoof male and female names and return addresses on the envelopes-he might have even used the name Mavis on one of the spoof female names-so that the receivers would not know who had really written the equally furious missives until they opened the envelope and read the signed letter.  Most of these letters also shamelessly plugged his website, www.zonewarsonfilm.com, to really drive the readers crazy.  Clearly, Reitman read the first nasty letter and maybe some of the follow-ups, didn’t like them, and decided to team up again with screenwriter Cody, screenwriter and inspiration for the twilit and allegorical film JUNO (2007), and return the nasty favour with YOUNG ADULT.

 

        Given that Mavis Gary shared Wright’s first name as her surname, and given that her first name Mavis was an actual street in Mississauga, and a street not far away from where he lived in the Streetsville section of Mississauga, the implication was also that Cody and Reitman googled up a map of Mississauga when they decided to write a screenplay roasting the poor ol’ Gardevil in order to choose a suitably female Christian name for Mavis to link to Gary that would confirm her link to him and to his Mississauga digs.  Indeed, when Mavis visited Beth, Buddy and their baby daughter for the first time in Mercury, they even had Gary wistfully talk about Buddy and her going “…thrifting all the time”-that is to say, shopping at thrift stores-when they were dating as teenagers, openly linking Gary to the Salvation Army Thrift store located not far from his apartment-and, curiously, even a Thrift Avenue Gardevil once lived on in White Rock, BC-to confirm her link to Wright. 

 

The fact that Gary and Slade were both linked to the NHL by signs near the front door when each character walked individually into Champion O’Malleys chain pub-an Irish pub that evoked Grace O’Malleys, located just up the street from TIFF at the corner of Ed Mirvish Way and Pearl-for their first “Mercury High reunion”-the NHL logo on the sinister left of Gary, an NHL cardboard cutout hockey player on Slade’s good right-not only reiterated Gary’s link to Canada, but also linked Slade to Canada in a way that suggested that he too symbolized a Canadian citizen-probably Reitman, as he was born in Montreal.  The red, white, red, white and red colour combination of the Mini that Gary drove from the mini-Apple to Mercury implicitly reaffirmed Gary’s Canadian links, as the colour combination was the same as that of the Maple Leaf flag of Canada.  Of course, the English manufacturers of the Mini also reminded us of Canada’s famous sentimental affection for England and its monarchy, whose sovereign was still guaranteed by Canada’s heaven sent Constitution of 1982 to be the true ruler of Canada to this day, centuries after the United States won its freedom from the UK in the American Revolution.  Gary’s ironic preference for eating Kentucky Fried Chicken fare at the Kentaco Hut that she initially mocked when she arrived in Mercury but then fell prey to also reaffirmed her implicit links to Canada, for the red and white colours associated with the KFC again evoked the Maple Leaf flag of Canada and her Maple Leaf Mini.

 

Gary’s tragicomic obsession with Hard Jack cider and the Mos Eisley Special Reserve “Star Wars juice”-aka aged bourbon-made in the garage still of the chubby, avuncular, sad eyed, knowing and Lucas linked Mercury geek, Matt Freehauf-played by Patton Oswalt-also implicitly evoked Wright’s equally tragicomic obsession with the lives and film art of John “Jack” Landis and Lucas, obsessions on open display on his Zone Wars website, www.zonewarsonfilm.com.  The fact that Gary preferred drinking Hard Jacks in Woody’s, a dark and cave-like independent bar in Mercury, rather than in the new bright and airy chain pub Champion O’Malley’s, also reiterated Gary’s link to the film art and TZ disaster obsessed Gardevil.  For Woody’s evoked the life and film art of Woody Allen-a prominent director in the dread Zone Wars-and also evoked Woody Harrelson’s character Woody Boyd on the NBC television show CHEERS, a television show that linked the film to the twilit and disastrous year of 1982 as CHEERS arrived on television on September 30, 1982, a little over two months after the TZ disaster, no doubt with a mission to soothe people troubled by the disaster. 

 

Gary’s father, David Gary-played by Richard Bekins-reiterated Gary’s implicit link to Canada, Canadian film art and Canadian film artists, as he looked, dressed, talked and acted like Cronenberg.  Gary’s mother also reaffirmed her implicit link, as Jill Eikenberry’s Hedda Gary evoked Canadian actress Jayne Eastwood.  Dolce, the Pomeranian of Gary, also linked her to film, as the dimunitive and implicitly Toto-linked dog’s name evoked Federico Fellini’s allegorical film LA DOLCE VITA (1960)-and also evoked Wright’s flippant assertion on an early version of his Zone Wars website that he was “…a fifth dimensional being who manifested in this dimension as an unusually discerning and knowing Shi Tzu.”  Clearly, Cody and Reitman-who looked like Beth and Buddy, implying that they symbolized Cody and Reitman-hoped that I would just grow up, stop complaining about TIFF film lists and Zone War film art, and just get a life, as seen by the cancellation of Gary’s Waverley Prep young adult series, her failure to woo Buddy to her cause, and her decision to give up on Buddy and drive her now battered from a drunken crash, Maple Leaf flag coloured and small minded Mini back to the Mississauga linked mini-Apple of Minneapolis and start anew, in the end.

 

Significantly, this was the response of Wright in an earlier manifestation of this essay:

 

Well, touche.  Write nasty letters and essays, get a nasty response.  Enjoy your oh so withering and satirical in-joke.  As for me, I was surprised, amused, flattered and reassured that someone was actually reading my letters and Zone War essays and was moved enough by what they were reading to reply in such an unusual, but somehow fitting, cinematic way, evoking the implicit roasting that film reviewers Roger Ebert and Gene Siskel received in the form of the dreaded two-headed  monster, the Siskebert, and that Pauline Kael implicitly received in the form of the cruel and merciless General Kael, in the twilit, allegorical and Lucas executive produced Ron Howard film WILLOW (1988).  Thanks also for proving my thesis that films are allegorical, and giving me an obvious example that I can use to defend my thesis.  In fact, thanks for proving that even films that are not scripted by the director are allegorical, implying that screenwriters carefully follow the allegorical messages in films and tailor the allegorical messages in their screenplays to suit the responses of directors, so as to increase the likelihood that a director would option their screenplay and transform it into a film.  And in my defense, snubbing Canadian film art and filmmakers at the opening of the most significant shrine to film art in Canada was worth ranting about.  Or, as my symbolic “twin sister” Mavis Gary Wright would embitteredly, furiously and sarcastically note, “…God!  Excuuuuuse me for living with my eyes, ears, heart, mind and soul wide open instead of wide shut like the rest of the huvine herd-as Stanley Kubrick sarcastically noted in the title of his last twilit and allegorical film EYES WIDE SHUT (1999), and actually noticing and understanding the allegorical nature and meaning of film art-particularly of the Zone War era-and the failure of TIFF to acknowledge the quality and importance of allegorical Canadian film art in their hated One Hundred Essential Films list. 

 

And excuse me for also thinking that the allegorical Zone Wars and some of the issues that it raised-particularly the constant implication of wrongdoing seen in all of the post-1982 allegorical film art of Spielberg-were serious enough for me to write about and share that knowledge with the world on the internet via my website.  At least I have the courage to do it openly, instead of rushing for the hills with my tail between my legs and launching oh so subtle and mysterious allegorical cinematic pot shots like you have so implicitly done in YOUNG ADULT.  In fact, if you had any guts and class, you would simply have sent a letter or email to me explaining and defending the reasons for your infernal One Hundred Essential Films list, reasons that I may have accepted, ending any flamewar before it started.  And what about that shot of Gary on her balcony at her apartment in Minneapolis in the beginning of the film, a shot that looked not only like me on my balcony, but like it was taken from space via satellite cam, implying that you spied on me on my balcony from satellite cam before making the film-talk about creepy!  And that noticeable resemblance of Oswalt’s Freehaus to a friend in Streetsville I had at the time, implying that you had my friend and I tailed by a private detective-talk about twice as creepy!!  Who was the real pestilent pest who refused to grow up in this situation?”

 

But, lucky for Cody and Reitman, I am not always a diehard mean girl and “…psychotic Prom Queen bitch”, and I was strangely flattered and pleased to be roasted in YOUNG ADULT.  Particularly since you proved my thesis, and also since Gary at least had the courage to aspire to something more in her life, escape Mercury and its huvine inhabitants, and go off and try to be her own free and independent literary artist-noticeably writing openly allegorical novels, proving my thesis that film art is allegorical yet again.  If I was truly mean, I would probably strike back by writing an equally tragicomic, nasty and allegorical story that would liken you two and your perennial efforts to pitch and sell your ideas to studios in order to get the money to make your allegorical films to the efforts of two L.A. area Latina prostitutes-Jacinta and Angela-and their perennial efforts to sell themselves to male customers on their favourite L.A. intersection of Hollywood and Sunset in order to get the money to live their lives. 

 

Luckily for the POG, however, YOUNG ADULT set off a small allegorical flame war on film hidden amidst the greater carnage of the dread Zone Wars which spared him the trouble of responding to YOUNG ADULT, starting with the twilit, allegorical and CGI enhanced Barry Sonnenfeld film MEN IN BLACK 3 (2012), released on released on May 14, 2012.

 

“This is my new favourite moment

 in human history.”

 

        Curiously, the film saw and heard Agents J and K-played by Will Smith and Josh Brolin as the younger K and Tommy Lee Jones as the older K, respectively-battling a nasty and homicidal alien invader of Earth named Boris the Animal-played by Jemaine Clement-who looked, talked, dressed and acted like the long lost extraterrestrial twin brother of Wright’s Library Technician colleague, Brian the Gillam.  Luckily for Agents J and K, they were able to defeat Boris the Gillam by teaming up with the alien that Boris was on Earth to kill, the implicitly Gardevil linked Griffin the Arcanan-played by Michael Stuhlberg-a fifth-dimensional and multi-sighted being who looked, talked, dressed and acted like Wright’s long lost extraterrestrial twin brother to affirm his implicit link to Gardevil.  As defeating Boris also allowed J, K and Griff to save the Earth, Sonnenfeld implied his support for Wright and his hope that the film “scholarship” of Gardevil would also help save the audiences, film art, film artists and the Temple Theatres of Earth.

 

Tragicomically, the presciently implicit link of the poor ol’ Streetsville Secondary School Library working Gardevil to Spider-Man continued soon after the release of MEN IN BLACK 3 when the Midtown Science High School (MSHS) librarian-played by Smilin’ Stan Lee-did not notice a battle raging in the Library behind him between the implicitly Cronenberg linked MSHS student Peter “Spider-Man” Parker-played this time by Andrew Garfield-and the implicitly Cameron linked and out of control Oscorp researcher Doctor Curtis “Curt” Connors aka “the Lizard”-played by Rhys Ifans-near the end of the twilit, allegorical and CGI enhanced Marc Webb super satirical animaction film THE AMAZING SPIDER-MAN (2012), a film released on June 13, 2012.  Curiously, with supporting characters who resembled Bailey, Cameron, Handling, Bonnie Crombie, Jayne Eastwood, Richard Florida and Rob Ford, Neal Jordan also implied that he was roasting GTA film artists and “scholars” in his twilit and allegorical film BYZANTIUM (2012), released on September 9, 2012.  Tragicomically, it was somehow fitting that BYZANTIUM was released late in 2012.  For the following year, the Cinema Garite subgenre of the dread allegorical Zone Wars exploded in tragicomically full throttle and nightmarish glory, starting with John Fawcett and Graeme Manson, who implied that they were taking on the irascible Gardevil in their twilit, allegorical and CGI enhanced telefilm series ORPHAN BLACK (2013-17), whose pilot Fawcett telefilm aired on March 30, 2013.

 

“I got refund.”

 

For after rucking with the minds of audiences and refusing to reveal itself over the course of the first season of the Toronto filmed series, ORPHAN BLACK revealed its dread Zone War colours early into season two with two characters who evoked Kennedy and Marshall.  Three characters who arrived in season four reaffirmed that implicit Zone War intent, for the Messenger, Detective Martin Duko and Adele-played by Geza Kovacs, Gord Rand and Lauren Hammersley, respectively-evoked Kathryn Bigelow, Kubrick and Landis.  The fact that ORPHAN BLACK was partly set in the quirky Toronto suburb of Bailey Downs also reaffirmed the implicit Zone War intent of the series, for Bailey Downs was as implicitly linked to Hollywood in the telefilm series as it was when it first appeared in the twilit, allegorical and implicitly SCC addressing Fawcett film GINGER SNAPS (2000).  As the only multifaceted person in the GTA with an obsession with the twilit and disastrous actions of Kennedy, Landis and Marshall and Zone War film artists like Bigelow and Kubrick who implicitly contributed film art to the Zone Wars was Wright, the implication was that the multifaceted character whose different aspects were implicitly symbolized by multiple clones of the same person was a nod to Gardevil’s own various guises as Library Technician, innovative film art “scholar”, internet outlaw and real life superhero, aspects of itself easily seen on his website, www.zonewarsonfilm.com. 

 

The fact that one of those manifestations was Sarah Manning-played by Tatiana Maslany, who also played all the other multifaceted “clones”-affirmed that implication.  For her first name Sarah evoked Gary-indeed, made her a Gar evoking Sar.  In addition, her British accent and surname reminded us that while born in North York, Gardevil was raised in Delta, British Columbia, from which he visited Manning Provincial Park several times.  Natalie Lisinska’s Aynsley Norris reaffirmed that link to beautiful B.C., evoking legendary VANCOUVER SUN political cartoonist Len Norris, whose complete oeuvre can be found on a website maintained by Simon Fraser University.  The implicit interest of ORPHAN BLACK in Gardevil increased dramatically when the production turned up in Streetsville ten minutes into the sixth episode of season two, the twilit and allegorical Brett Sullivan telefilm “To Hound Nature In Her Wanderings” (2014), at the corner of Barry and Queen Streets, nestled between the Streetsville BIA on the left and the Streetsville United Church on the right, only two and a half blocks from Wright’s fanctum sanctorum apartment in a building on run of the Mill Street in Mississauga.  Curiously, and soon after the first episode of ORPHAN BLACK, SCC’s decision to include a troubled teen girl named Chloe-played by Claire Julien-who looked like a teenaged version of Theron’s Mavis Gary implied that she was also roasting Reitman and YOUNG ADULT in her twilit, allegorical and CGI enhanced indie docufeature film THE BLING RING (2013), a film released on May 16, 2013. 

 

“My dad works

 for a film distribution company.”

 

Indeed, Chloe’s name evoked Atom Egoyan’s allegorical film, CHLOE (2009), about a Toronto escort, confirming Coppola’s interest in Toronto area film artists and “scholars”.  The sound of the Deadmaus tune “FML” on the soundtrack implicitly reaffirmed that interest in Toronto.  Thus, Chloe’s participation in a L.A. area teenaged “Bling Ring” break-and-enter gang that targeted wealthy film stars implicitly linked the gang to Toronto film artists, implying that its two teen leaders, Marc and Rebecca-played by Israel Broussard and Katie Chang, respectively-symbolized Reitman and Cody like Psycho Billy and Chris did in CARRIE.  An implicit interest in the POG that returned that year in the twilit and allegorical Wright indie docufeature film THE WORLD’S END (2013), released on July 10, 2013.

 

“Please leave, Gary.”

 

For the film revolved around a middle aged character named Gary King-played by Thomas Law as a lad, and Simon Pegg as a laddish middle aged man, respectively-whose first name evoked Gary Wright, and whose surname evoked the King Street address of TIFF in Toronto.  Surprisingly, his obsession with his teen years throughout the film evoked the obsession with the twilit and disastrous events of the teen years of the poor ol’ Gardevil, implying that this was the second film in the Gardevil Trilogy from

the eerily surnamed Wright.  Indeed, the resemblance and implicit link of Oliver Chamberlain-played by Luke Bromley as a teen and Martin Freeman as a middle aged man, respectively-to then Prime Minister Steven Harper implicitly affirmed the link of King to a Crazy Canuck.  Thus, the sight and sound of King tracking down his equally middle aged ex-teen mates and persuading them to return to their old stompin grounds of Newton Haven to finally complete the legendary Golden Mile, a twelve pub crawl that the group failed to complete decades earlier to celebrate the end of high school, and battling and defeating the implicitly Landis linked Guy Shepherd-played by Pierce Brosnan-and a mob of alien robotniks symbolized the hope of Wright that Wright would finally come to grips with and release his sadolescence, okay?  Something like that.  Dire POGish implications that returned in the twilit, allegorical, CGI enhanced and MEN IN BLACK 3 evoking Robert Schwentke film R.I.P.D. (2013), released on July 17, 2013 and inspired by the Dark Horse comic created by Peter M. Lenkov.

 

“You’re right.

  I hate it when you’re right.”

 

For the determined and ghostbusting ghost of the murdered and implicitly Reitman linked Boston Police Department (BPD) Detective Sergeant and ghostly Rest In Peace Department Detective Nick Walker-played by Ryan Reynolds-returned to the land of the living of Boston to avenge his murder by triumphing over his murderer and ex-BPD partner, the implicitly Gardevil linked BPD Detective Lieutenant Bobby Hayes-played by Kevin Bacon-at the end of the film.  Indeed, the fact that the film often evoked the twilit, allegorical, CGI enhanced and Ozian themed Ivan Reitman film GHOSTBUSTERS (1984) affirmed the film’s implicit interest in young Reitman.  The fact that Walker’s equally dead partner Marshall Roicephus “Roy” Pulsipher-played by Jeff Bridges-resembled and was implicitly linked to W.P. Kinsella affirmed the implicit link of Hayes and Walker to Crazy Canucks.  The resemblance and implicit link to Gardevil of a bald and equally dead criminal informer contact of Hayes named Elliot-the red and white Canuckehead colours of the Boston Red Sox shirt he was wearing affirming his implicit link to a Crazy Canuck, and played by the fittingly surnamed Mike O’Malley-reaffirmed the implicit link of Hayes to Wright in the film.  Significantly, Cody then no doubt pleased Reitman by donning the writer/director hats and surprisingly and implicitly roasting the poor ol’ Gardevil in her own Cinema Garite salvo in the equally small, low budget, down to Earth, intimate, twilit, allegorical and slightly CGI enhanced indie docufeature film PARADISE (2013), released on August 8, 2013. 

 

“Perfect bitch.”

 

Indeed, the poor ol’ despondent and TZ disaster scarred and traumatized Gardevil was implicitly linked to the poor ol’ despondent and airplane crash burned, scarred and traumatized Lamb Mannerheim-played by Julianne Hough-throughout the film.  The fact that Lamb’s parents Doug and Melanie Mannerheim-played by Nick Offerman and Holly Hunter, respectively-evoked my parents Doug and Gail Wright and the presence of the implicitly Gillam linked “Sweet” William Carr-played by Russell Brand-affirmed the implicit link of Lamb to Gar.  The fact that Lamb’s faith leader Pastor Rick-played by Phil Austin-resembled and was implicitly linked to then Canadian Prime Minister Stephen Harper also affirmed the implicit link of Lamb to a Crazy Canuck.  Thus, the fact that Mannerheim left her conservative Christian parents and small town of Blakesley, Montana behind to find freedom and luv in Las Vegas only to return, in the end, to her conservative parents and life in blah Blakesley implied that Cody felt that Wright should leave behind decadent Hollywood and its dread allegorical Zone Wars and return to his little ol’ life okay?  Curiously, SCC’s niece, Gia Coppola, also implicitly continued the garish tone soon after the release of THE BLING RING in her twilit and allegorical indie docufeature film PALO ALTO (2013), released on August 29, 2013.

 

“I think all movies and tv shows

 and videogames these days

 are just pointless.”

 

Indeed, it was noticeable that the argumentative and acrimonious relationship that Jack Kilmer’s sensitive and artistic Teddy had with Nat Wolff’s implicitly Reitman linked Fred evoked Wright’s own argumentative and acrimonious relationship with Reitman.  Teddy’s link to the POG was implicitly affirmed by his community service in a children’s library, which evoked Gardevil’s own work as a Library Technician at Streetsville Secondary School in Mississauga, ON.  Thus, the sight and sound of Teddy leaving behind the library for a job teaching art to seniors at a retirement home, literally walking away from Fred in the end and leaving him to his perhaps suicidal destiny and finally turning to the shy, sensitive and implicitly art linked April-played by Emma Roberts-implied that Gia was urging Gardevil to drop his pointless feuding with Reitman, turn to art, write a real book, finally leave the library gig behind and stop being an irritating dipshit.  Good advice, and we could only hope that the poor ol’ Gardevil could accomplish it one day.  Gia also often alluded to SCC’s allegorical indie short film LICK THE STAR (1998), implying that Gia was also using the film to address her aunt Sofia. 

 

Curiously, Film Master Francis Coppola was also heard in a wry voiceover as a judge pronouncing a sentence on Teddy and consigning him to children’s library duty for being the driver that caused a hit and run accident at one point in PALO ALTO.  The film also brought another four into Gardevil’s life, as PALO ALTO saw the appearance of Gia’s nephew, Bailey Coppola, as Seth, making for four Coppolas involved in films about Gardevil’s site and itself in 2013.  But that was not the final implicit Coppola word on Gardevil’s site, his feud with Reitman or on the weird and unfriendly neighbourhood Gardevil itself in 2013, as the day after the release of PALO ALTO, SCC’s cousin and Gia’s uncle, Nicolas Cage, returned to the big screen to also implicitly address those vexing three issues in the twilit and allegorical David G. Green film JOE (2013), released on August 30, 2013.

 

“I do what I gotta do.”

 

For soon after JOE began, the eponymous Joe-played by Cage-was seen and heard struggling to remember the name of a strange kid named Gary Jones-played by Tye Sheridan-who had wandered out of nowhere like the Gardevil, and who Joe had hired to work with his illicit team of tree poisoners-a team implicitly linked to famous Zone War film artists and their poisonous Zone Wars films, as the different poisoners looked like such directors as Lucas, Spielberg, Francis Coppola and Spike Lee.  Unable to remember the weird kid’s name, Joe asked, rhetorically, “…and…Gary, right?”-which sounded like, “…and Gary Wright?”-just before he paid him at the end of weird Gary’s first work day.  Green implicitly underlined the link to the poor ol’ Gardevil and my fanctum sanctorum base in the GTA by having Gary’s father, Wade-fittingly played by Gary Poulter-look like an older and beat up Norman Jewison, still perhaps Canada’s most famous film artist.  As JOE emerged two years after the release of YOUNG ADULT, and Gary and Joe united to defeat a scarfaced Evildoer named Willie-Russell-played by Ronnie Gene Blevins-the implication was that Green was using the film to symbolically defeat Reitman, in the end.  Implicit Gardevil intentions that returned in the twilit, allegorical and CGI enhanced Terry Gilliam film THE ZERO THEOREM (2013), released on September 2, 2013.

 

“My name is Leth.”

 

Indeed, the madcap and tragicomic quest-evoking the equally madcap and tragicomic quest of the “Knights” of the Round Table to find the Holy Grail in MONTY PYTHON AND THE HOLY GRAIL-of Christoph Waltz‘s Leth to find the answer to the all important Zero Theorem-always referred to as the ZT-was implicitly linked throughout THE ZERO THEOREM to Wright’s equally madcap and tragicomic quest to decipher all of the allegorical fiction and film art of the dread Zone Wars so as to finally understand and reveal the truth about the TZ disaster.  The fact that the name of Mr. Leth mockingly evoked the name of Mr. Wright, and that the sight of the bald Leth spending long hours in front of his computer in his lonely building frantically trying to solve the ZT evoked the sight of the equally bald Wright spending long hours at his computer in his lonely apartment frantically trying to solve the TZ implicitly affirmed the allegorical intent of the inimitable and irrepressible Gilliam.  Curiously, Bill Condon also implicitly addressed the POG in the twilit and allegorical film THE FIFTH ESTATE (2013), released on September 5, 2013.

 

“Courage is contagious?”

 

Indeed, given the year of its release, and its focus on revealing “secrets” on the internet, the implication was that the Wikileaks “revelations” of Benedict Bandersnatch’s Julian “Caesar’” Assange symbolized the www.zonewarsonfilm.com “revelations” of the Gardevil.  Even Sir Ridley Scott implied that he was in a garish mood in 2013 in his nasty twilit and allegorical film THE COUNSELOR (2013), released on October 3, 2013.

 

“We announce to the darkness

that we will not be diminished

by the gravity of ourselves.”

 

Indeed, Sir Scott implied that the tragicomic tale of the naïve lawyer-Michael Fassbender’s eponymous Counselor-whose life was destroyed and whose beautiful wife, the implicitly L.A. film art linked, Laura-played by Penelope Cruz-murdered after he foolishly infuriated duplicitous and greedy Colombian drug dealers and the malignant Malkina-the film’s symbolic Wicked Witch of the West who was literally linked to the Dark Side of film, as her name could mean “bad kino” or “bad cinema”, and played by Cameron Diaz-was his allegorical way of telling the poor ol’ Gardevil that he was also foolish and naïve to irritate equally duplicitous and greedy Hollywood and the malignant TIFF.  Indeed, the black SUVs that Malkina’s thugs carry out their dirty deeds in evoked the black SUVs seen carrying around film artists and stars at each annual TIFF, affirming Malkina’s implicit link to TIFF.  Curiously, Sir Scott also implied his fear that Wright’s “revelations” would destroy film art and artists just as the naivety of the Counselor destroyed such implicitly Cronenberg, David Lynch and Bruce McDonald linked characters as Reiner, Jamie and Westray-played by Javier Bardem, Sam Spruell and Brad Pitt, respectively-over the course of the film.  A brutal and ugly implicit allegorical warning, indeed. 

 

Soon after, and perhaps inspired by BYZANTIUM, Kimberly Peirce implicitly joined the mayhem the following year and implicitly roasted Cody and Reitman with more righteous and horrific fury in her twilit, allegorical and CGI enhanced film CARRIE (2013), released on October 7, 2013 and inspired by the presciently twilit, allegorical and “Cinderella” evoking Screamin’ Stephen King novel Carrie (1974). 

 

“I believe there is a video of the incident…”

 

Indeed, the strange, short, shy, sensitive, lonely, book reading, high school library frequenting, and Gary Wright evoking and implicitly linked teenage girl Carrie White-played by Chloe G. Moretz-fittingly faced down and destroyed two implicitly Cody and Reitman linked mean teens and fellow high school students in the form of Chris Hargensen and Billy Nolan-played by Portia Doubleday and Alex Russell, respectively-at the righteously and telekinetically furious end of the film to avenge a nasty digital video Chris made of Carrie getting her first period one day in the showers after gym class and posting the video on the internet, making it implicitly clear what Peirce thought of Cody and Reitman and the film they had implicitly made of the Gardevil.  Indeed, the inclusion of the Jason Reitman evoking name of Frieda Jason as one of the Prom Queen choices on the prom ballot at the end of the film implicitly affirmed Peirce’s interest in roasting Reitman and Cody in CARRIE, for the choice for Prom Queen evoked Reitman Jason and reminded us that Mavis Gary, and, implicitly, Wright, had been dissed as a “…psychotic Prom Queen bitch” in YOUNG ADULT.  Thus, it was fitting that throughout the film both Carrie and Chris competed for the friendship of Susan “Sue” Snell-played by Gabriella Wilde-as the beautiful and Hollywood evoking blonde implicitly affirmed that a battle between non-commercial film art “scholars” and commercial film artists took place in CARRIE.

 

Curiously, Peirce also implied her interest in roasting the pre-digital era of film, for it was noticeable that after wiping out Chris and Psycho Billy and many other jeering members of her graduation class at the prom, Carrie then proceeded to kill her zealously Christian mother, Mrs. Margaret White-played by Julianne Moore-a woman who openly symbolized the pre-digital age as the insanely devout woman refused to have anything to do with computers throughout the film.  Last but not least, Peirce implicitly did not hold out much hope for the poor ol’ Gardevil succeeding with his dread allegorical Zone Wars “scholarship”, for Carrie was killed along with her mother by her out of control telekinetic power at the end of the film.  At any rate, given that Peirce was implicitly addressing Wright as well as implicitly roasting Cody and Reitman in the film, it was fitting that while CARRIE was mostly filmed in Toronto, the exteriors of Carrie White’s home were filmed in Mississauga in an open and unabashed link to the poor ol’ Gardevil.  How also eerily fitting that Carrie White was mistakenly referred to as “Cassie Wright” by Bates High School Principal Morton-played by Stefan Geirasch-in his office at the beginning of the presciently twilit and allegorical Brian DePalma film CARRIE (1976), the first cinematic version of Carrie.  A horrific implicit allegory that was perfect timing for the arrival of the world’s foremost omnisexual film artist, Master Cronenberg, when he returned and, like Peirce, also implicitly and creepily came to Gardevil’s defense in his indomitably inconoclastic way in his twilit and allegorical indie docufeature film MAPS TO THE STARS (2014), released on May 19, 2014.

 

“I love Carrie

…and I know Garry!”

 

Significantly, and no doubt due to the fact that the telekinetic Carrie White-her extrasensory powers implicitly linked to Wright’s powers of allegorical insight-evoked the highly evolved and ESP using ominsexuals found in such allegorical Cronenberg indie docufeature films as STEREO (1969), SCANNERS (1980) and M. BUTTERFLY (1993) the fact that his longtime Production Designer, Carol Spier, worked on CARRIE, and the fact that CARRIE reminded us that the allegorical Stephen King novel The Dead Zone (1979) inspired Cronenberg’s first salvo in the Zone Wars, the twilit, allegorical and implicitly Lynch roasting indie docufeature film THE DEAD ZONE (1983), Master Cronenberg implicitly concurred with Peirce, underlining his agreement by focusing MAPS TO THE STARS on the Weiss family, as Weiss was German for White, linking the White family to the Weiss family.  The fact that Master Cronenberg also moved the location of the film from the symbolic L.A. of CARRIE to the real L.A. of MAPS TO THE STARS reaffirmed that MAPS TO THE STARS was about film art and film artists.  Thus, the sight of another troubled but persistent and clue solving teen girl, Mia Wasikowska’s Agatha Weiss-her name having the same syllable cadence as Kimberly Peirce, and openly obsessed with film art and artists-haunting and destroying her incestuous parents, Cristina and Dr. Stafford Weiss-a surname that evoked Reitman and Wright as much as White, and played by Olivia Williams and John Cusack, respectively-equated with the destruction of Chris and Psycho Billy by Carrie, and, hence, the symbolic destruction of Cody and Reitman by Gary, in the end. 

 

The return of Moore as the haunted and tormented Hollywood star Havana Segrand confirmed this implication, for Moore had played Carrie’s mother, Margaret White, in CARRIE.  Indeed, Segrand openly linked MAPS OF THE STARS to CARRIE, as she was seen and heard in a restaurant talking on a cell phone at one point about a person named Gary-American director and producer Garry Marshall, in this case.  Soon after, she called out to Carrie-that is to say, Carrie Fisher, playing herself-linking Gary to Carrie in a way that implicitly affirmed that Cronenberg was replying to Peirce in the film.  Curiously, Moore’s dual appearance caused her to symbolically die twice at the hands of a symbolic Wright, as Margaret and Havana were killed by Carrie and Agatha, in the end.  Significantly, as Weiss killed Segrand by bashing her head in with Cronenberg’s own Genie award, the implication was that Segrand symbolized Cronenberg.  Thus, the murder of Segrand by Agatha, the troubled teen detective with the Agatha Christie evoking name, implicitly symbolized Cronenberg’s fear that the essay Wright had written on his art and posted on www.zonewarsonfilm.com would kill his career-or was that just kill the mystery of his film art? 

 

Curiously, but fittingly, given Cronenberg’s link to King, soon after the release of MAPS TO THE STARS King implicitly roasted the indomitably eccentric and part-Indigenous loner POG in the implicit form of the indomitably eccentric, part-Indigenous secretary/detective loner Holly Gibney in the twilit and allegorical  indie docufiction novel Mr. Mercedes (June 3, 2014).  For his part, Lucky Luc Besson implicitly roasted Sir Scott and THE COUNSELOR and came to Wright’s rescue with the twilit, allegorical, CGI enhanced and Ozian themed film LUCY (2014), released on July 25, 2014.

 

“Thank you for sharing.”

 

Indeed, the many allusions to THE COUNSELOR throughout LUCY affirmed the implication that the triumph of Scarlett Johansson’s eponymous and implicitly Dorothy linked and Carrie and Mavis evoking Lucy with the help of the human evolution accelerating drug, CPH4, and CGI enhanced extrasensory powers over Choi Min-Sik’s Wicked Taipei CPH4 dealer, Mr. Jang, and his “Jangalore” gang symbolized the triumph of the allegorically insightful Gardevil and a new era of enlightened and CGI enhanced film art over Sir Scott and his cynical and ugly ‘film’ of 2013.  This implication was reaffirmed by the implicit link of Taipei to Toronto, the implicit link of Richard-played by Pilou Asbaek-to both the Wicked Witch of the East and McDonald, and of Lucy’s mentor Doctor Samuel Norman-Morgan Freeman-to both the Great Oz and Cronenberg.  Lucy’s links to Carrie and the fact that Lucy’s CGI enhanced ESP triumph over Mr. Jang and his Jangalores in the end evoked Carrie’s CGI enhanced ESP wrath at the end of CARRIE reaffirmed the implicit Gardevil addressing intent of LUCY. 

 

As for Jeff Lemire, allusions to Mississauga and a chronologically challenged hero named William implied that he was also addressing the poor ol’ Gardevil in the twilit, allegorical and CGI enhanced narrative artwork TRILLIUM (2014), originally released in monthly issues during 2013-14 by DC Vertigo and re-released in collected trade paperback form in August of 2014.  Shortly after the release of TRILLIUM, implicit support for the POG also appeared in the twilit, allegorical and CGI enhanced Morten Tyldum docufeature film THE IMITATION GAME (2014), released on August 29, 2014.

 

“Not secret. 

That’s the brilliant part. 

Messages that anyone can see

but no one knows what they mean,

unless you have the key.”

 

For the desperate effort of Pumpkinpatch’s brilliant, eccentric and solitary codebreaker Alan Turing to crack the German Enigma code at his base in Bletchley Park, England in order to help the Allies win World War II evoked the equally desperate effort of the equally brilliant, eccentric and solitary allegorical codebreaker Gardevil to crack the allegorical code of the fiction and film art of the dread Zone Wars at his base in Streetsville, Ontario in order to help the citizens of the United Nations of Earth to win the Zone Wars, bring harmony to the Temple Theatre, and liberate Chen, Le and Morrow from the Twilight Zone…forever.  Forever we say!  Too bad Turing was actually implicitly linked to Tim Burton.  But an intrepid and implicitly Gardevil linked Manchester police detective named Nock-played by Rory Kinnear-did appear, striving to figure out the truth about Turing in a way that evoked Gardevil’s Burton essay.  As Turing committed suicide a year after nosey Nock outted him as a homosexual, the implication was that Tyldum did not like Gardevil’s Burton essay.  

However, while the hoary old Gardevil was implicitly not the subject of THE IMITATION GAME, David Mitchell did implicitly roast Gardevil in the implicit form of another Holly, the Hollywood cadenced Holly Sykes, in the twilit, allegorical, chronologically challenged, CGI enhanced and Ozian themed indie docufiction novel The Bone Clocks (September 2014).

 

“I’m shaking:

“Swear to God,

I-I’m not who you think I am””.

 

Indeed, this implication was affirmed by the Spider-Man referencing novel’s beginning in July of ’84, its fondness for books, films, music, narrative art-particularly that of Marvel Comics-Brighton and “…tigery orange” butterflies, the presence of Gary the student, Holly’s cancer, visits to Toronto and Vancouver and the even more reassuring and pleasing presence of Sheba the exuberantly luving black Lab.  Thus, the tragicomic sight and sound of Sykes becoming caught up in the determined battle between Good psychic Atemporal Horologists and Evil psychic, vampiric, carnivorous and Atemporal Anchorites led by the implicitly Landis and Deborah Nadoolman linked Baptiste Pfenninger and Immaculee Constantin implied that Mitchell was meditating on the equally tragicomic sight and sound of the POG becoming caught up in the dread allegorical Zone Wars in The Bone Clocks.  The fact that Sykes helped the Good Horologists defeat the Evil Anchorites, in the end, also implied the hope of Mitchell that Wright would help Good film art for film art’s sake film artists defeat Evil and twilit film artists like Landis and Nadoolman.  Indeed, the novel’s allusions to DONNIE DARKO, the presciently twilit and allegorical Cronenberg indie docufeature film SCANNERS (1980), the presciently twilit and allegorical Gilliam indie animaction film TIME BANDITS (1981), the twilit, allegorical and CGI enhanced Spielberg indie docufeature film INDIANA JONES AND THE LAST CRUSADE (1989), the twilit, allegorical and CGI enhanced Bryan Singer super satirical animaction film X-MEN (2000) and the twilit, allegorical and CGI enhanced King indie docufiction novel DOCTOR SLEEP (2013) and its prescient anticipation of the twilit, allegorical and CGI enhanced super satirical animaction film DOCTOR STRANGE (2016) affirmed the novel’s implicit interest in the dread allegorical Zone Wars and the poor ol’ Gardevil.

 

Surprisingly, soon after the release of The Bone Clocks, Reitman also implicitly roasted Wright in the form of obsessive and suicidal teenaged Guild Wars video game player, Tim Mooney-played by Ansel Elgort-in the small, low budget, down to Earth, intimate, brash, confident, twilit, allegorical and slightly CGI enhanced indie docufeature film MEN, WOMEN AND CHILDREN (2014), released on September 6, 2016.  A sympathetic but guardedly supportive interest in the Gardevil also returned in Michael Cuesta’s ominously twilit and allegorical docufeature film KILL THE MESSENGER (2014), released on September 28, 2014.

 

“Gary, you get some sources on the record,

we’ll see where we’re at.”

 

Yeah, rock you, too, Senor Cuesta.  For the mysterious death in his lonely apartment of Jeremy Renner’s intrepid San Jose Mercury News reporter Gary Webb after trying to reveal the truth about the cocaine sales that the CIA used to finance its support of the Contras in Nicaragua in the Eighties was clearly warning me that something could happen to Wright in his lonely apartment one night if he was not more careful about his intrepid quest to reveal the truth about the TZ disaster.  Indeed, Gary Webb was implicitly linked to Gary Wright throughout the film, affirming the implicit intent of KILL THE MESSENGER.  However, at least would not have any problem convincing a courtroom that his allegorical interpretations were right, unlike Webb, who was not believed as no source would go on record in support of him.  Tragicomically, an implicit interest in the POG returned when Seth Rogen and Evan Goldberg ended the film year by also implicitly coming to Gardevil’s rescue, openly alluding to YOUNG ADULT and implicitly likening Randall Park’s tragicomic North Korean President Kim Jong-un, with his Reitman style front hair part, to Reitman in their hilarious and fear dissolving twilit, allegorical and CGI enhanced indie docufeature film THE INTERVIEW (2014), released on December 11, 2014. 

 

“In two years,

I come out with my unexpected tell-all.”

 

Indeed, the Hardy and Laurel duo of Rogen’s Aaron Rapaport and James Franco’s Dave Skylark and their tragicomic mission to assassinate North Korean dictator Jas-un in North Korea-albeit clearly filmed in the Greater Vancouver Area where Gardevil grew up, as some of the locations were clearly set in the GVA, particularly Simon Fraser University in Burnaby, BC-confirmed that they were blasting Reitman in THE INTERVIEW.  Indeed, Jong-un’s revelations that he was worried that people thought that he had got his job not from intelligence or ability, but simply because his of his father, reminded us that Reitman got his foot in the film industry door as much from the fact that his father was Ivan Reitman as from his own ability.  Thus, the blowing up of Jong-un at the end of the film with a shell fired by Rapaport and Skylark from a tank was as much a furious roast of Reitman’s free ride into the industry from two outsiders who had had to work hard to break in, as it was a symbolic sign of support for Wright and his site.  Significantly, an implicit interest in Gardevil and a commitment to the truth in life and in the fiction and film art of the dread allegorical Zone Wars that was implicitly reaffirmed in the new film year when Gilles Paquet-Brenner went off in a surprising direction in his twilit and allegorical docufeature film DARK PLACES (2015), released on March 31, 2015.

 

“There was something about your brother

 that was not right for the outside world.”

 

Curiously, with a trio of murders from 1985 haunting the film like the TZ trio, allusions to CARRIE, and the return of Moretz, Sheridan-who played weird Gar in JOE-and Theron, DARK PLACES was a regular implicit Garapalooza.  This implied that the attempt of Theron’s troubled and implicitly Dorothy linked Kinnakee, Kansas girl Libby Day to solve the three murders that swept through her family’s Kinnakee farmhouse like a tornado back in ‘85 symbolized Wright’s own tragicomic attempt to the solve the mystery of the deaths of Chen, Le and Morrow.  Indeed, Day looked, talked, acted and dressed like Mavis Gary in her more depressed moments when she was seen wandering around Mercury in a hoodie and baggy jeans in YOUNG ADULT and like Wright in everyday life, linking her to Gary and Wright.  In addition, the film’s many allusions to the eerily prescient, twilit and allegorical Sir Scott film BLADE RUNNER (1982)-particularly the voiceover of Day, which evoked the voiceover of Harrison Ford’s replicant hunter Rick Deckard in BLADE RUNNER-affirmed the film’s implicit interest in the twilit and disastrous events of the summer of ’82.  In the end, Day eventually recalled the identity of the true murderer, allowing her brother, Ben-played by Corey Stoll-to finally be freed from wrongful imprisonment for the murders. 

 

Significantly, as Ben looked like Wright, Paquet-Brenner perhaps implied his hope that Wright would be finally freed from his obsession with the TZ disaster, and go on to live a life, at last.  Or did Paquet-Brenner imply his hope that young Reitman and Wright would stop their feud and kiss and make up, given that the teenage Ben-played by Sheridan-resembled Reitman, and that the release of Ben led to a teary hugs and kisses reconciliation between Ben and Libby?  As for King, he implicitly roasted the POG again in the implicit form of indomitably eccentric secretary/detective Holly Gibney in the twilit and allegorical novel Finders Keepers (June 3, 2015).  Implicit Gardevillicious intimations then returned in the twilit, allegorical, CGI enhanced, uber full throttle, hyper-cyber and time trippin’ Alan Taylor indie docufeature Zonebuster TERMINATOR GENISYS (2015), released on June 21, 2015.

 

“So you’re remembering the future?”

 

Indeed, the poor ol’ Gardevil appeared to be linked to the earnest future time traveler, Kyle Reese-played by Jai Courtney-on another desperate and embattled mission to save Sarah Connor-played by Emilia Clarke-and destroy the blockbuster machine before the global A.I. defense system destroyed Earth and the art of CGI enhanced film.  Or was that actually the unusually Evil John Connor-played by Jason Clarke-who was linked to Wright, in another exasperated roast of the Gardevil?  Only Pops-played by Arnold Schwarzenegger-knew, and he did not reveal the truth.  Tragicomically garish implications that returned in the twilit and allegorical Tyler Shields indie docufeature film FINAL GIRL (2015), released on July 8, 2015.

 

“Do you want to play a game?”

 

For the sight of Wes Bentley’s creepy William training Abigail Breslin’s stereotypically young, beautiful and curvaceous Hollywood blonde, Veronica, to terminate four Evildoers implicitly linked to Landis, Marshall, Morrow and Spielberg and cursed with a sick penchant for killing stereotypically young, beautiful and curvaceous Hollywood blondes in the weird and watchful woods of the GVA of beautiful British Columbia reminded us that begun in the GVA did the righteously furious odyssey that led to the even more creepy Gary William addressing Landis, Marshall, Morrow and Spielberg in his book on Lucas and the Zonebuster essays.  How appropriate that Shields quoted from the twilit, allegorical and CGI enhanced John Badham docufeature film WAR GAMES (1983), as the film is one of the favourite films of Gardevil.  Curiously, One and Murata Yusuke implicitly linked the bald POG to the equally bald, indifferent, lackadaisical, laconic, sardonic and somehow invincible and CGI enhanced blockbuster beast bashing Saitama aka One-Punch Man aka Bald Cape, starting with the first installment of the brilliant and hilariously twilit, allegorical and CGI enhanced super satirical indie manga ONE-PUNCH MAN: volume 1 (2015). 

 

“This is no time for reading manga!”

 

Indeed, the arrival in ONE-PUNCH MAN: volume 1 of the possibly Jason linked Genos aka Demon Cyborg in as the hilariously and ironically devoted pupil of the mysterious and laconic Saitama affirmed the implicit link of Saitama to Wright.  The arrival in ONE-PUNCH MAN: volume 3 of Sitch, a Disaster Prophecy Measures Committee Chairman Hero Association bigwig who was implicitly linked to then Canadian Prime Minister Stephen Harper, reaffirmed that Saitama was linked to a real life Canadian “superhero”.  The arrival of the implicitly Cronenberg linked Class S Rank 3 Hero master Bang aka Silverfang in ONE-PUNCH MAN: volume 4 and of the implicitly Brandon Cronenberg linked Class A Rank 29 Hero Golden Ball in ONE-PUNCH MAN: volume 3 also affirmed the implicit link of Saitama to Toronto and its film art, film artists and film “scholars”.  The arrival of the implicitly Cameron linked Class S Rank 7 Hero King in ONE-PUNCH MAN: volume 5 reaffirmed that One-Punch Man was linked to a Canadian film artist luving Crazy Canuck, while the arrival of the implicitly Frank Frazetta linked Class S Rank 15 Hero Metal Bat in the same volume also affirmed the fondness of One-san and Murata-san for classic narrative artists.  Indeed, the sight and sound of Saitama punching out a beastly blockbuster leonopteryx evoking bird that attacked King and himself in ONE-PUNCH MAN: volume 8 affirmed the implicit link of King to Cameron. 

 

The arrival of the sexually seductive and implicitly Pamela Anderson Lee linked Level Demon monster Princess Super S in ONE-PUNCH MAN: volume 11 also affirmed the implicit link of Saitama to Canadian film artists.  In addition, the implicit link of City Z, Saitama’s home city, to Toronto also affirmed the implicit link of One-Punch Man to a real life GTA “superhero”.  Thus, it was fitting that the implicitly SCC linked Class A Rank 3 Hero Okama Itachi and the implicitly Roman Coppola linked Class A Rank 4 hero Bushi Drill showed up in ONE-PUNCH MAN: volume 9, given that she made her first twilit, allegorical and CGI free docufeature film THE VIRGIN SUICIDES (1999) in Toronto.  Curiously, Stanley Kubrick was also implicitly linked to the martial arts luvin’ regular citizen Bakuzan, he of the “…dark Hell killing jutsu”, in ONE-PUNCH MAN: volume 11, and the equally artbustin’ Sir Scott was implicitly linked to the gleefully insidious and hero hunting wannabe monster with the Gary evoking name of Garu who arrived in ONE-PUNCH MAN: volume 10.  Lana Wachowski was also implicitly linked to Tatsumaki aka "Tornado Terror" in ONE-PUNCH MAN: volume 6, while her older sister Lilly was implicitly linked to Fubuki aka "Blizzard of Hell" in ONE-PUNCH MAN: volume 9.  Last but not least, the epic battle that broke out in ONE-PUNCH MAN: volume 10 between the Hero Association and the CGI enhanced Monster Association implicitly symbolized the battle between film artists who favoured CGI free or slightly CGI enhanced film art and film artists who favoured all CGI blockbuster beasts, okay?  For his part, Tom McCarthy also implicitly took up the Gardevil cause in his twilit and allegorical film SPOTLIGHT (2015), released on September 3, 2015.

 

“This is bullshit!”

 

        For Stanley Tucci’s intrepid, irascible, quirky, solitary and Gardevil evoking lawyer Mitch Garabedian was able to use evidence that supported the truth that dozens of pedophilic Catholic priests were preying on children in Boston to successfully defend that claim in a court of law and evade imprisonment, implying the confidence that Wright would do the same if he was ever requested to defend his “scholarship” in a courtroom.  An implicit interest in the POG that returned when Jocelyn Moorhouse curiously fused the twilit and allegorical Tim Burton film EDWARD SCISSORHANDS (1990) with the allegorical Sergio Leone film ONCE UPON A TIME IN AMERICA (1968) in her fine twilit and allegorical indie docufeature film THE DRESSMAKER (2015), released on September 14, 2015.

 

“He had a right.”

 

        For the sight of Kate Winslet’s haunted and despondent quick draw dressmaker and hair stylist, Myrtle “Tilly” Dunnage, transforming the plain woman of the small Australian town of Dungatar into glamorous movie stars with unique and individually tailored dresses and hair styles in a way that evoked Johnny Depp’s equally talented, original and haunted Edward Scissorhands while she tried to solve and resolve the mysterious death of one implicitly young Reitman or Spielberg linked Stewart Pettyman-played by Rory Potter-that haunted both her and the town evoked the equally haunted and despondent Gardevil transforming film artists with unique and individually tailored chapters and essays while trying to solve and resolve the mysterious deaths of Chen, Le and Morrow that haunted him and Hollywood.  Indeed, Dunnage’s nickname, Tilly, evoked the Ontario based Tilly international adventure clothing creators, perhaps still best known for their signature Tilly hat, implicitly affirming the antipodean film’s interest in Canadian characters based in Ontario.  In addition, the presence of Sarah Snook as the stunningly transformed shopgirl, Getrude Pratt, affirmed the film’s implicit interest in the machinations of Spielberg and the twilit and disastrous year of 1982, as Gert/Trudy’s name evoked that of Drew Barrymore’s Gertie in the infamously twilit and allegorical Spielberg filmmercial E.T., THE EXTRATERRESTRIAL (1982).

 

A moving and amazing film that reminded us that it was intelligent and imaginative screenplays and talented actors and actresses that were inspired by those excellent screenplays to rise up to the artistic challenge with the help of insightful and seasoned directors and producers and cinematographers and costume and hair designers and set builders and sound and light designers and stunt people and composers and editors that was always the best way to defeat the TZ disaster blues and reignite the commitment of audiences to film art and the Temple Theatre.  Following in a long line of low budget, fearless, innovative and in your face Aussie cinematic roasts stretching back to before the TZ disaster with the allegorical and implicitly Cronenberg toasting George Miller indie docufeature film MAD MAX (1979), I recky.  ‘S’truth!  Food for thought, indeed. 

 

Tragicomically, the new film year was  then kicked off with DC and Warners implicitly linking the POG to a “superhero” in the implicit form of Bruce “Batman” Wayne-fittingly played by Affleck as an adult and by Brandon Spink as a boy, respectively-who fittingly battled the implicitly Reitman linked Clark “Superman” Kent-played by Henry Cavill-in the twilit, allegorical and CGI enhanced Zack Snyder super satirical film, BATMAN V SUPERMAN: DAWN OF JUSTICE (2016), a film released on March 12, 2016.

 

“A devil. 

It saved us.”

 

Indeed, the sight of autumn red CGI maple leaves falling past the logos for Warner Brothers and DC Comics before the film began implicitly affirmed that the film would be allegorically roasting superheroes linked to Canadian film artists and film “scholars”.  The sight and sound of Martha and Thomas Kent-played by Lauren Cohan and Jeffrey D. Morgan, respectively-being killed in front of the horrified eyes of a young Wayne outside a Gotham City cinema advertising EXCALIBUR also affirmed the implicit link of Wayne to Wright.  In addition, the implicit link of Senator Barrows-played by the fittingly surnamed Dennis North-to TIFF CEO Handling and the presence of the Polley resembling and possibly linked Senator June Finch-played by Holly Hunter-who reminded us that I initially grew up not far from Jane and Finch in Toronto reaffirmed the implicit link of Batman to Gardevil.  A hole in the shape of Ontario that was created when Superman threw Batman through a wall in their super battle late in the film also affirmed that the two super heroes were linked to Canadian citizens linked to Ontario.  Last but not least, the resemblance and implicit link of Russian baddie Anatoli Knyazev-played by Callan Mulvey-to Prime Minister Justin Trudeau reaffirmed the implicit link of Batman and Superman to Canada.

 

Curiously, after reconciling with each other with the help of the implicitly Cody linked Lois Lane-played by Amy Adams-Batman and Superman had to team up with the implicitly SCC linked Diana “Wonder Woman” Prince-played by Gal Gadot-to defeat the implicitly Gilliam linked Alexander “Lex” Luthor-played by Jesse Eisenberg-and a General Zod-played by Michael Shannon-transformed by Luthor into a literal blockbuster CGI beast called Doomsday, implying the hope of Snyder that SCC, Reitman and Wright would also work hard to defeat CGI enhanced blockbuster beasts.  Intriguingly, however, given that Superman died saving the world, Snyder implicitly warned Reitman to watch out lest he be snared and killed by CGI enhanced blockbuster lusts.  An implicit interest in blasting the poor ol’ Gardevil that returned in the twilit, allegorical and CGI enhanced Dis and Jon Favreau film JUNGLE BOOK (2016), released on April 4, 2016 and based on the allegorical Rudyard Kipling short story collection The Jungle Book (1894).

 

“You’re all in my tooth!”

 

For Shere Khan-played by Idris Alba-the mean ol’ nasty Tiger that menaced Neel Sethi’s sweet and innocent man-cub Mowgli and his CGI enhanced animal pals throughout the film evoked a certain mean ol’ nasty Khanadian Gardevil throughout the JUNGLE BOOK.  Indeed, the sight of the irascible Tiger stalking and attacking Mowgli and his pals reminded us again that Tigers was the name of both the student population in general, and of the teams in particular, of Streetsville Secondary School.  Eye of the Tiger, Dis!  Eye of the Tiger!  And how apropos that the original allegorical Wolfgang Reitherman film JUNGLE BOOK (1967) was not only released the year Wright was born, but was co-written by Ralph Wright, clearly a relative thrice removed.  Curiously, that was implicitly not all from the Mouse House in 2016, for Disney and Marvel implicitly and ironically refuted Marvel and Twentieth Century Fox by linking the poor ol’ Gardevil to the new earnest, well meaning, courageous and determined but naïve, inexperienced, bumbling and disaster prone DIY Peter “Spider-Man” Parker-played by Tom Holland-in the twilit, allegorical and CGI enhanced Anthony and Joe Russo super satirical animaction film CAPTAIN AMERICA: CIVIL WAR (2016), released on April 12, 2016. 

 

“Hey, guys, you ever see that really old movie,

THE EMPIRE STRIKES BACK?”

 

Indeed, the dimunitive size of the new Spidey, his fondness for hoodies and a black and orange Tiger backpack that evoked the black and orange colours and team name of Wright’s workplace, Streetsville Secondary School, and his exuberant allusion to the allegorical, CGI enhanced, Ozian themed, Lucas executive produced and implicitly Spielberg roasting Irvin Kershner film STAR WARS EPISODE V: THE EMPIRE STRIKES BACK (1980) that led Spidey to come up with a creative way to bring down the implicitly Richard Kelly linked Scott “Ant-Man” Lang-played by Paul Rudd-when he was in Giant Man mode during the film’s closing super hero rumble-implicitly affirmed that the webhead was linked to the world wide webhead in the film instead of Cronenberg as in the Sam Raimi and Marc Webb Spidey films. 

 

The Russo Brothers also implied their hope that Reitman and Wright would put aside their vindictive and vituperative vendetta and work together to advance Canadian and world film art like Spidey and the implicitly Reitman linked Tony “Iron Man” Stark-played by Robert Downey jr.-worked together with their super allies to take on the implicitly Clint Eastwood linked Steve “Captain America” Rogers-played by Chris Evans-and his super supporters in the rumble at the end of CAPTAIN AMERICA: CIVIL WAR.  Curiously, Joe Hill also implied the following month that he was roasting the battle between Reitman and Wright in the form of the novel length battle between the implicitly Reitman linked Jakob Grayson and the implicitly Wright linked Harper Willowes in the twilit, allegorical and CGI enhanced indie docufiction novel The Fireman (May 2016), a novel that came across as a curious fusion of the allegorical Ray Bradbury novel Fahrenheit 451 (1953) and the eerily and presciently twilit and allegorical King indie docufiction novel The Stand (1978) whose implicit allegorical intent was affirmed by allusions to this site and YOUNG ADULT.  Soon after Hill’s father King also implicitly roasted the POG again in the implicit form of indomitably eccentric secretary/detective Holly Gibney in the twilit and allegorical indie docufiction novel End Of Watch (June 7, 2016).  An implicit interest in roasting Wright that returned when Oliver Stone implied that he was also punnin’ with the Gardevil in his twilit, allegorical and CGI enhanced docufeature film SNOWDEN (2016), released on July 21, 2016. 

 

“This man is either a fool or a spy.”

 

For the film often evoked JOHNNY MNEMONIC, a film that was mostly created in Toronto, linking SNOWDEN to Toronto-a city that was often snowed in during the long, cold and depressing winters-and its film art, artists and “scholars”.  Indeed, the sight of Joseph Gordon-Levitt’s Edward Snowden meeting up with sympathizers at the Mira Hotel in Hong Kong so that he could pass on sensitive and incriminating NSA data at the beginning of SNOWDEN evoked Johnny meeting up with Pharmakom defectors eager to pass on the data containing the cure for the dreaded and implicitly TZ disaster linked NAS at the New Beijing Hotel in New Beijing, China at the beginning of JOHNNY MNEMONIC.  The sight of Snowden carrying around huge amounts of NSA data and releasing that data to the public, in the end, also evoked Johnny Mnemonic carrying around the life saving Pharmakom data that cured the dreaded NAS in his head drive and downloading that data to the internet to cure the people of the world of the TZ disaster evoking NAS blues at the end of JOHNNY MNEMONIC.  Thus, SNOWDEN was linked to Toronto, a link of SNOWDEN to Toronto that was openly affirmed when some iconic footage of a Toronto Police car burning during the rioting in Toronto in July of 2010 was slyly slipped into stock news footage of rioting in Greece.  Given these links to Toronto and its film art, artists and “scholars”, the implication was that Snowden’s revelations symbolized the poor ol’ Gardevil’s “insights” into the allegorical fiction and film of the dread Zone Wars. 

 

Curiously, later that same year, the POG was again implicitly linked by DC and Warners to Bruce “Batman” Wayne-played again by Affleck-in the twilit, allegorical, CGI enhanced and Toronto crafted David Ayer super satirical film SUICIDE SQUAD (2016), released on August 1, 2016.  Not long after, rival narrative art house Image Comics also implied their frustration with Wright in the twilit and allegorical narrative artwork SPAWN KILLS EVERYONE! #1 (August 2016).

 

“Oh, for God’s sake—

how frikkin’ original. 

Ugh!  But I digress…”

 

Cuz Spawn was shrunked and mixed with Milk n Cheese to create Spawn n Cheez and released to mock n beat n kill everyone in sight including a fanboy at San Diego Comic Con dressed as Deadpool.  Standing over the body of the Deadpool fan, Spawn n Cheez snickered exultantly, “…There goes your sequel, Ryan!  Because you’re now Dead in a Pool of blood…hahahahahahahahahahahahaha!”  Of course, this comment that the fan was dead in a pool of blood evoked the Gardevil’s comment once written in this essay that the twilit, allegorical, CGI enhanced and implicitly Tarantino roasting and toasting Tim Miller super satirical animaction film DEADPOOL (2016) was dead in the pool.  Implying that Todd McFarlane and his Spawners had read the essay and were satirically roasting the unfriendly neighbourhood Gardevil in SPAWN KILLS EVERYONE! #1.  An implicit intent that would no doubt be more implicitly clear when McFarlane released a feature film length CGI filmmercial for implicitly pointless Spawn n Cheez dreck of this particular narrative artwork.  

 

Not long after, Sir Ridley Scott donned the co-producer hat and implicitly either hoped that film artists would triumph over film “scholars” or that film artists were more dangerous than film “scholars” when he teamed up as co-producer for his son Luke Scott to have the implicitly Kimberly Peirce linked, genetically designed, laboratory created, emotional intelligence lacking and Replicant evoking synSECT L4 prototype assassin and “risk management consultant” Lee Weathers-played by Kate Mara-triumph over the implicitly Wright linked and equally genetically designed, laboratory created, emotional intelligence developing and Replicant evoking synSECT L9 prototype weird girl assassin and “hybrid autonomous organism” Morgan-played by Amybeth McNulty at ten years old and Anya Taylor-Joy as a teen, respectively-at a top secret research centre in the woods of Northern Ireland as isolated as the Nostromo in space at the end of the twilit, allegorical, and CGI enhanced indie docufeature film MORGAN [2016], a film released on September 1, 2016 whose implicit interest in Peirce and Wright was affirmed by the film’s allusions to CARRIE.  Then, given that the film revolved around a working class poetry loving and scribbling palooka and boxer with a heart a gold named Charles “Chuck” Wepner-played by Live Schreiber-who took on the Big Show in the embodied form of Muhammad Ali-played by Pooch Hall-got thrashed and inspired an allegorical film in the form of John G. Avildsen’s ROCKY (1976), a saga that evoked the tragicomic insistence of the poor ol’ workin’ class and poetry lovin’ and scribblin’ Gardevil in taking on Hollywood in his “scholarly” Zone War rants which implicitly inspired retaliatory allegorical films and all, Philippe Falardeau and company also implicitly addressed the POG in their twilit and allegorical film CHUCK (2016), released on September 2, 2016. 

 

The sight and sound of Chuckie leaving it all behind for the peace and quiet of life with lovin’ Linda-played by Naomi Watts-also implied the hope of Falardeau and Co. that Gary would also come to his few remaining senses and leave it all behind for a more peaceful “life”, in the end.  For her part, Eleanor Coppola proved that three is indeed company when she also implicitly roasted Wright in her twilit and allegorical indie docufeature film PARIS CAN WAIT (2016), released on September 12, 2016.

 

“Yeah, right.”

 

Indeed, the unusually long time it took Wright to write his “scholarly” Zone War essays was gently and satirically linked to the unusually long time it took the Wright resembling and implicitly linked Jacques-played by Arnaud Viard-to drive Anne-played by Diane Lane-from Cannes to Paris throughout the film.  But not that Eleanor appeared to be too worried about the creeping pace, as the slow and meandering journey and its revelations was more important than speed, in the end.  The 637 MMC 75 license of Jacque’s car affirmed the implicit intent of PARIS CAN WAIT, for it reminded us again that Wright was born in 1967.  The name of Anne’s husband, Mike-played by Alec Baldwin-reaffirmed the implicit intent of the film, as it reminded us that Wright’s older brother was named Michael.   A chocolate haiku lovin’ treat, indeed.  Speaking of super satirical narrative art, there was also a possibility that there was also an implicit Gardevil bashing intent in “The Last Days of Magic” series which kicked off in October 2015 and wrapped up in October 2016 in the Marvelous pages of DOCTOR STRANGE.

 

“By the whorey hosts of Hoggoth!”

 

For the Sorceror Supreme’s desperate battle against the implacable Imperator and his Empirikul army in issues 1-10 of the rebooted DOCTOR STRANGE smacked yet again of the tragicomic adventures of the hoary ol’ Gardevil.  Indeed, like Gardevil, the irascible Imperator turned to the righteously furious side after being betrayed as a youth by film artist evoking sorcerors, a betrayal that shattered his youthful dreams as much as the TZ disaster did to the hopeful dreams of the Gardevil, and left him vowing revenge like righteous Wright.  The fact that the irritating Imperator loved tearing aside the magic of Dr. Strange and his fellow sorcerors and replacing it with everyday empirical reality like Gardevil loved tearing aside the allegorical curtain obscuring Zone War fiction and film art and revealing their true meaning reaffirmed the implicit Gardevil intent of “The Last Days of Magic” series.   The fact that Dr. Strange petulantly complained in issue ten that “…it’s bad enough you’re here to murder me and all my friends…but you don’t have to be such a jerk about it” also summed up the implicit and impotent frustration of the Merry Marvel Marchers that they could not stop Gardevil from writing his “enlightening” chapters and essays and posting them to this site.  An implicitly pouty and petulant Wright roasting intent repeated that month in the twilit and allegorical Marvel narrative artwork SOLO (October 2016).

 

“KABLAMEE!”

 

For Solo, the new solitary assassin, liked to repeat the refrain “…I’m always in the RIGHT place in the RIGHT time”, subtly underlining his implicit link to Gardevil.  Speaking of implicitly symbolic superheroes, another one was seen recently in the photograph that accompanied a late December TORONTO STAR article on the DOCTOR WHO 2016 Christmas television special.  For the photograph revealed that Peter Capaldi’s latest incarnation of Dr. Who resembled Master Cronenberg, implicitly linking the current Dr. Who to Toronto and the GTA.  Standing behind him to his sinister left was a young Canadian actor playing a male superhero with a prominent “G” on his chest-“G” for Gardevil?  A pom my word!  Luckily for me, I have never been much for tv or DOCTOR WHO, so I will not tune in to find out.  However, in an aside completely apropos of nothing, noticing the allegorical 2015 DOCTOR WHO Christmas special “Last Christmas” in the DVD shelves at the Streetsville branch of the Mississauga Public Library also featured Capaldi’s Dr. Who, I could not resist signing it out.  Sure enough, not only did Capaldi’s Dr. Who look and talk like Master Cronenberg, the 2015 DOCTOR WHO Christmas special also alluded openly to VIDEODROME, affirming the implicit link of the latest Dr. Who to Master Cronenberg, Toronto and the GTA. 

 

Curiously, Zhang Yimou ended the film year implying that he too was addressing Gardevil in the huge, impersonal, twilit, CGI enhanced and allegorical film THE GREAT WALL (2016), a film released on December 6, 2016 that came across as a strange hybrid of Zhang’s Hung Fu Trilogy and the exuberantly violent, twilit, allegorical, CGI enhanced and implicitly Lucas supporting Paul Verhoeven animaction film STARSHIP TROOPERS (1997).

 

“You think they see you as some kind of hero?”

 

        Indeed, the sight of William-played by Matt Damon-battling hordes of blockbuster CGI beasts called Tao Tei that evoked the hordes of blockbuster CGI bugs of STARSHIP TROOPERS alongside the beautiful, bewitching and fearless Commander Lin-played by Jing Tian-and the rest of her Chinese military comrades in an alternate historic China reminded us of Gary William Wright’s equally intrepid and determined battle against the twilit and CGI enhanced blockbuster beast in his “scholarly” writings, affirming the implicit Gardevil addressing intent of the film.  The presence of Sir Ballard-played by Willem Dafoe-amongst the Good Forces combatting the bug beasts reaffirmed the film’s implicit interest in Greater Toronto Area film art, artists and scholars, for the name of Sir Ballard evoked James Ballard-played by James Spader-in the twilit, allegorical and implicitly Lynch addressing Cronenberg film CRASH (1996). 

 

That William, Commander Lin and company defeated the beastly blockbuster Tao Tei, in the end, also implied that Yimou approved of the determined “scholarly” struggle of Gardevil, and hoped that it would also one day end in victory.  While a nice implicit nod of support, the film’s strange “bug fu” fusion of hung fu films like STARSHIP TROOPERS and the twilit, allegorical and implicitly Landis addressing Yimou film HERO (2002) unfortunately came across as just plain old “bug fou”, leaving audie-nces wryly amused with THE GREAT WALL.  For his part, Ry Russo-Young kicked off a new film year by implying that he was addressing both the SUPERGIRL series and a Crazy Canucklehead nicknamed Gardevil in his twilit and allegorical film BEFORE I FALL (2017), a film released on January 21, 2017 which came across as a teen girl fusion of DONNIE DARKO and the twilit and allegorical Harold Ramis film GROUNDHOG DAY (1993).

 

“Maybe for you, there’s a tomorrow…

But for some of us, there is only today.”

 

For teen friends Zoey Deutch and Halston Sage-played by Samantha Kingston and Lindsay Edgecomb, respectively-evoked and resembled Canadian actress Ellen Page and Melissa Benoist, respectively, implicitly affirming both a Canadian and SUPERGIRL addressing intent in BEFORE I FALL.  Thus, the fact that Deutch was finally able to free herself from endlessly repeating Valentine’s Day at her high school and at a party later that night in a scenario that evoked GROUNDHOG’S DAY by making the fateful choice to save a despised and possibly Gardevil linked fellow student, the “sociopathic psycho”, Juliet Sykes-played by Elena Kampouris-in a scenario that evoked the end of DONNIE DARKO implied that Russo-Young was trying to liberate Wright from his obsession with the dread allegorical Zone Wars at the end of BEFORE I FALL, or his amusing insistence that Kara symbolized Gary in SUPERGIRL.  Tragicomic Gardevilicious implications that returned full Force throttle in the hard driving and cool rocking twilit, allegorical and CGI enhanced Wright film BABY DRIVER (2017), released on March 11, 2017.

 

“I want to be free to know

the things I do are right.”

 

Not that you would suspect from a distance, for the wild stunt driving, crashes and frantic flights from the police made BABY DRIVER seem like an affectionate nod to Landis and such equally wild drivin’ and car crashin’ allegorical films as THE BLUES BROTHERS (1980).  However, the Healey Building headquarters of the film’s criminal gang affirmed the film’s implicit interest in Toronto and its film art, film artists and film “scholars”.  For the Healey Building evoked legendary Toronto musician Jeff Healey, a fitting evocation given that BABY DRIVER was as obsessed with music as Healey.  The implication that the film was addressing a film artist or film “scholar” linked to Toronto was reaffirmed by the presence of Elgort as the gang’s getaway driver, Miles aka “Baby”, the film’s eponymous BABY DRIVER.  For Elgort played Tommy Ross in the implicitly Diablo, Reitman and Wright addressing film, CARRIE, a film that was created in Toronto.  Of course, Elgort also played the implicitly Wright linked teenaged Guild Wars fanatic, Tim Mooney, in MEN, WOMEN AND CHILDREN, openly linking the film to Canadian film artists, film art and “scholars” in general, and to the poor ol’ Gardevil, in particular.  Thus, it was apropos that Atlanta and Toronto both had three syllables with the first syllable conceivably composed of two letters, the second syllable composed of three letters-both second syllables beginning and ending with consonants that protectively guarded vowels, the final consonant an “n” in both cases-and the third syllable composed of two letters, with the first letter a “t” and the second letter a vowel. 

 

And so, with all of these implicit and open links to Toronto and its film artists, film art, and film “scholars”, Wright implied that Baby’s decision to turn against the gang of robbers he worked for as a resignedly intuitive, imaginative, strangely silent, tinnitus suffering and music lovin’ getaway driver in a Han Solo evoking team jacket-robbers who included an implicitly Cody and Reitman linked pair named Monica and Jason aka Darling and Buddy, played by Eliza Gonzalez and Jon Hamm, respectively-symbolized the decision of the poor ol’ equally resignedly intuitive, imaginative, strangely silent, tinnitus suffering and music lovin’ Gardevil to stop supporting film artists after the TZ disaster and the equally disastrous TIFF HQ opening and to write about them and all their TZ disaster haunted film art for his “illuminating” website.  The fact that Baby left behind his life of getaway driving for a life of luv with his Jennifer Jason Leigh resembling sweetie, Debora-played by Lily James-in the end, also implied that Wright wanted Wright to leave behind lawless and blockbuster loot obsessed Gollywood…before it was too late and he was swallowed alive and whole by a CGI enhanced blockbuster beast-!yipe!

 

Fittingly, Baby’s favourite song, the allegorical Queen tune “Brighton Rock” (1974), affirmed his implicit link to Wright, reminding us of Gardevil’s fondness for Brighton, ON.  The other songs chosen for the grooving and uplifting soundtrack that emphasized the word “right”, the Spiderman evoking web tattoo on the side of the neck of a robber known as “No Nose” Eddie-played by Flea-the Batman insignia evoking bat tattoos on the neck of another robber, Leon “Bats” Jefferson III-played by Jamie Foxx-and the implicit link of robbery mastermind, Doc-played by Kevin Spacey-to Gardevil arch nemesis TIFF CEO Handling reaffirmed the implicit Gardevil addressing intent of the film.  An extra who resembled Toronto Mayor John Tory seen trying to hail a cab as Baby grooved down the sidewalk to the allegorical Bob & Earl tune “Harlem Shuffle” (1963) on his first Ozone coffee run after the opening robbery; a Gardevil resembling bald loner shoulder smashing Baby as he shuffled along on his second Ozone coffee run after the second robbery; a police officer-played by Keith Hudson-who evoked long serving Mississauga Councillor George Carlson when Baby rescued Debbie at Bo’s Diner; and a carjacked woman-played by Andrea Frye-who resembled Mississauga Mayor Hazel McCallion late in the film also reaffirmed the implicit link of Baby to the North York born and Mississauga dwelling Gary.  Last but not least, the sight of Baby working briefly at a legal job as a driver-of course!-for Good Fellas pizza reminded us all that Wright lived just down the street from Goodfellas Italian restaurant in Streetsville.

 

While Baby made his getaway driving look far easier than interpreting allegorical fiction and film art, using heaven sent music like Baby to inspire his intuitive creativity in order to defeat Evil film artists, save the sweet art of film-as sweet as Debora-cleanse the Temple Theatre, and release Chen, Le and Morrow from the Twilight Zone…forever…was just the way it was for the poor ol’ Gardevil.  Of course, Baby’s love of music also evoked that of the music loving and Gardevil anticipating Pilgrim in SCOTT PILGRIM VS. THE WORLD, making it possibly fitting that BABY DRIVER was the explosive trimax of the eerily surnamed Wright’s “Gardevil Trilogy”.  Curiously, and for his part, Lynch also implied that he was addressing Gardevil, either in the implicit form of the Zone obsessed blogger, William “Bill” Hastings-played by Matthew Lillard-or the Munchkin assassin, Ike “the Spike” Stadtler-played by Christophe Zajac-Denek-in the twilit, dream-like, slightly CGI enhanced and allegorical telemoving painting series TWIN PEAKS: A LIMITED EVENT SERIES (2017), released on May 21, 2017. 

 

“Mr. Hastings, are you the author

of an online journal or blog entitled

THE SEARCH FOR THE ZONE?”

 

Indeed, the CN Tower evoking tower of the Stratosphere Hotel and Casino in Las Vegas affirmed the implicit interest of the series in Toronto, while the Mississauga evoking Vegas suburb of Rancho Rosa affirmed the implicit interest in the series in Mississauga film “scholars”.  The presence of Amanda Seyfried and Caleb L. Jones as Rebecca “Becky” and Steven Burnett, respectively, reaffirmed the implicit interest in Toronto and its film art and artists in TWIN PEAKS: A LIMITED EVENT SERIES, for it reminded us that Seyfried played troubled prostitute Chloe in the twilit, allegorical and Toronto set Atom Egoyan film CHLOE (2009), and that Jones played Syd March in the twilit, allegorical and Toronto set Brandon Cronenberg film ANTIVIRAL (2012).  The presence of Jennifer J. Leigh and Tim Roth as Chantal and Gary “Hutch” Hutchens, respectively, also affirmed the implicit interest in Canadian film art and artists, as the two hillbilly assassins evoked Cameron and his latest wife, Suzy Amis.  The inclusion on the soundtrack of the allegorical and Lynch re-mixed Muddy Magnolias tune “American Woman” (2015), which evoked and mocked the allegorical Guess Who tune “American Woman” (1970), reaffirmed the implicit interest of TWIN PEAKS: A LIMITED EVENT SERIES in Canada and its art, artists and “scholars”. 

 

Not surprisingly, Jon Watts again implicitly linked Gardevil that year to Holland’s earnest, courageous, determined, naïve, inexperienced, bumbling and accident and chaos prone new Peter “Spider-Man” Parker in the twilit, allegorical and CGI enhanced super satirical animaction film SPIDER-MAN: HOMECOMING (2017), a film released on June 28, 2017. 

 

“Hey, Gary. 

How you doing?”

 

Curiously, the film began with a tragicomic prologue that took place right after the attack by the implicitly Spielberg linked Loki-played by Tom Hiddleston-and his beastly CGI enhanced blockbuster extraterrestrial Chitauri allies on New York in MARVEL’S THE AVENGERS.  Significantly, in this prologue an indie wrecking and removal crew led by the implicitly TIFF CEO Handling linked Adrian Toomes-played by Michael Keaton-and his second in command, the implicitly TIFF second in command Bailey linked Herman Schultz-played by Bokeem Woodbine-were stopped in their tracks by a delegation from the Department of Damage Control led by an older female official named Anne Marie Hoag-played by Tyne Daly-who resembled and was implicitly linked to ex-Mississauga Mayor “Hurricane” Hazel McCallion.  This implicitly linked the film to Mississauga and its film “scholars” like Wright, an implicit link of the film to the Greater Toronto Area (GTA) that continued when the prologue ended and a symphonic rendition of the Bob Harris composed theme for the allegorical and animated Ralph Bakshi SPIDER-MAN (1967-70) tv series played over the familiar sight of flickering pages of Marvel super satirical narrative art before the Marvel logo appeared.  For the SPIDER-MAN theme reminded us that the Bakshi series was a Can-Am creation that featured the Toronto born and raised Paul Soles as Peter “Spider-Man” Parker, affirming the implicit link of Spidey to a Crazy Toronto born Canuck right from the outset. 

 

Then after revealing that eight years later Toomes had transformed himself into the villainous Vulture and his wrecking crew into wealthy urban pirates with the help of stolen Chitauri technology, the film rebooted with a twilit, allegorical and CGI enhanced indie documentary film made by Parker with his phone that chronicled his involvement in the super rumble at the airport in Liepzig in CAPTAIN AMERICA: CIVIL WAR, an indie phone film which, like the allusion to STAR WARS EPISODE V: THE EMPIRE STRIKES BACK in that film, openly linked Parker to film art, film artists and film “scholars”.  Significantly, the fact that we discovered soon upon his return to the US from Germany that the friendly neighborhood Spiderman lived off Queens Boulevard in the Queens borough of New York in a webswinging apartment instead of the usual brownstone with his unusually young and attractive Aunt May Parker-played by Marisa Tomei-reaffirmed Parker’s link to Wright, reminding us that the unfriendly neighbourhood Gardevil lived off Queen Street in the Streetsville town amidst the city of Mississauga, ON, in a swingin’ bachelor pad.  The fact that Marvel legend Stan “the Man” Lee showed up for his cameo as a fellow Queensian named Gary also affirmed the implicit Wright addressing intent of the film, for the name linked Scowlin’ Stan and Spidey to some character named Gary.  Curiously, the Greater Vancouver Area evoking map of New York on Parker’s bedroom wall curiously reaffirmed Parker’s implicit link to Wright, reminding us that Wright grew up in the GVA. 

 

Seeing Parker attend the Midtown School of Science & Technology (MSST), the home of the Tigers, also implicitly affirmed that Parker was linked to Wright in the film, for the name of the Tigers reminded us again that Wright worked as a Library Technician at Mississauga’s Streetsville Secondary School, also the home of the Tigers.  Indeed, the Tiger mascot seen running frantically across the frame in the background of several of the Midtown School scenes affirmed the implicit link of MSST and SSS, for the MSST mascot was the twin of the SSS Tiger mascot.  How apropos that MSST was established in 1982, the year Wright’s life was changed forever by the TZ disaster.  The resemblance of Parker’s classmate, Flash-played by Tony Revolori-to fellow Mississaugan Russell Peters reaffirmed the implication that Parker was linked to Wright.  His luv interest, Elizabeth “Liz” Toomes-played by Laura Harrier-also reaffirmed the link of Wright to Canada and its film art, film artists and film “scholars”, for she evoked Meghan Markle and her mother-in-law, Queen Elizabeth II.  The voice of Karen-voiced by Jennifer Connelly-the helpful female digital assistant that went with the Spidey suit designed by Stark-played again by Downey jr.-reaffirmed the implication that Parker was linked to Wright, for Karen evoked “Commander” Karen Fitzpatrick, the all knowing and indefatigable human PC LAN expert during most of his years at Streetsville Secondary School.

 

Watts also joined the Russo Brothers in implicitly hoping that Wright and Reitman would stop their wacky feud and start working together to advance Canadian and world film art, given that the implicitly Reitman linked Tony “Iron Man” Stark-played again by Downey jr.-and the Favreau played Hogan supported Parker in his battle against the venomous Vulture and Schultz aka Shocker #2 in the film and invited him to join the Avengers after he triumphed over the Evildoers and prevented them from stealing all of the Avengers gear being transported by Happy from Avengers Tower to their new facility in upstate New York.  The fact that Parker turned down Stark’s offer, in the end, and headed back to his lonely DIY indie superhero life also implied that Watts was aware that Wright was too much of a lonesome, troubled, obdurately indie and DIY real life stuporhero himself to ever join any film art promoting organization.  Significantly, soon after the release of SPIDER-MAN: HOMECOMING, Kathryn Bigelow also implicitly addressed Wright in the twilit and allegorical indie docufeature artbuster DETROIT (2017), a film released on July 25, 2017 that was curiously linked to BABY DRIVER, as both BABY DRIVER and DETROIT shared a fondness for the allegorical and Lamont Dozier and Brian and Eddie Holland written Martha and the Vandellas tune “Nowhere To Run” (1965).  And how apropos that DETROIT concerned itself with the riots that took place in that city in July of 1967, given that the poor ol’ Gardevil was born that same riotous summer on July 4, 1967 just across the border from Detroit in North York, Ontario. 

Tragicomically, and speaking of superhero organizations, the troubled, haunted, solitary and implicitly Gardevil linked Wayne Enterprises CEO Bruce Wayne aka “Batman”-played again by Affleck-persuaded the revived from the dead and implicitly Reitman linked Kal-El aka Clark Kent aka “Superman”-played again by Revill-the iconoclastic and implicitly Besson linked Arthur Currie aka “Aquaman”-played by Jason Mamoa-the goofy, frenetic and implicitly Jay Baruchel linked Barry Allen aka “the Flash”-played by Ezra Miller-beautiful, intelligent, glamorous and implicitly Angelina Jolie linked Amazon Princess Diana aka Diana Prince aka “Wonder Woman”-played by Gal Gadot-to join the steadfast MetaHuman Justice League that year to take on and take out the CGI enhanced and implicitly Kelly linked alien Evildoer, Steppenwolf-played by Ciaran Hinds-in the twilit, allegorical and CGI enhanced Snyder/Joss Whedon super satirical animaction film JUSTICE LEAGUE (2017), released on October 26, 2017.  Indeed, the sound of “Everybody Knows” playing over the film’s opening titles affirmed the implication that film artists linked to Canada were being roasted in the film.

Curiously, Marie Lu kicked off the new year by implicitly linking Wright to a teenage Bruce Wayne in the twilit, allegorical and slightly CGI enhanced docufiction novel Batman: nightwalker (2018), a novel released on January 1, 2018 whose implicit allegorical intent was affirmed by allusions to ALIAS GRACE.  Surprisingly, Moretz then returned to kick off a new film year as the guilt stricken and implicitly Wright linked teen lesbian Cameron Post in the twilit and allegorical Desiree Akhavan film THE MISEDUCATION OF CAMERON POST (2018), a film released on January 22, 2018 whose implicit roast of Gardevil was affirmed by allusions to CARRIE and YOUNG ADULT.  Soon after, there also appeared to be a garish tinge to the twilit, allegorical, CGI enhanced and Ozian themed Spielberg animaction film READY PLAYER ONE (2018), released on March 11, 2018.

 

“Everyone who wins loses.”

 

Indeed, the implicitly Reitman/Scarecrow and Cody/Dorothy linked pair of Wade “Parzival” Watts and Samantha “Art3mis” Cook-played by Sheridan and Olivia Cooke, respectively-implicitly triumphed over the elder Reitman, Ivan, in the implicit form of the invidious and implicitly Wicked Warlock of the West linked IOI CEO, Nolan Sorrento-played by Ben Mendelsohn-and solved the final riddle created by the mysterious and implicitly Gibson and Great Oz/Wicked Warlock of the East/Glinda linked OASIS creator and lifelong bachelor James Halliday-played by Mark Rylance-and his implicitly Bruce Sterling linked partner Ogden “Og” Morrow-played by Simon Pegg-that led to the rewards of the last key and the hidden egg McGuffin and the ownership of OASIS, in the end.  And despite turning down an offer to join the Avengers at the end of SPIDER-MAN: HOMECOMING, the wisecracking and implicitly world wide Webdevil linked webhead-played again by Holland-wound up fighting alongside the Avengers and spontaneously inducted into their ranks anyway by a grateful and desperate Stark-desperate, indeed, and played again by Downey jr-when Spider-Man teamed up again with Iron Man in the twilit, allegorical and CGI enhanced Russo Brothers super satirical animaction film AVENGERS: INFINITY WAR (2018), released on April 23, 2018.

 

“Yeah, but the kid’s seen more movies.”

 

Desperate, indeed, for Spidey-in a new and even more hi-tech Spidey suit made by Stark-Iron Man and the rest of the assemblin’ and dissemblin’ Avengers-this time aided by the implicitly Cronenberg linked Vision (played by Paul Bettany), the implicitly Luc Besson linked Peter “Star Lord” Quill (played by Chris Pratt), the implicitly Guillermo Del Toro linked Drax the Destroyer (played by Dave Bautista), the mysterious and implicitly Jim Jarmusch linked Taneleer Tivan aka the Collector (played by Benecio Del Toro), the implicitly Stephen King linked Doctor Stephen Strange (played by Benedict Cumberbatch), the implicitly Emily Lynch linked Wanda “Scarlet Witch” Maximoff (played by Elizabeth Olsen) and the implicitly Mina Shum linked Mantis (played by Pom Klementieff)-spent the entire film frantically trying to save the multiverse from the power mad, Infinity Stone lusting and implicitly Michael Eisner linked Thanos-played by Josh Brolin. 

 

Significantly, during the film long brawl with Thanos and his “children”, Spidey reaffirmed his implicit link to Gary.  For when he teamed up with Iron Man to take on and take out the implicitly Jeffrey Katzenberg linked right hand man of Thanos, Ebony Maw-played by Tom Vaughan-Lawlor-Spidey alluded to the twilit, allegorical, righteously furious and Zonebusting James Cameron film ALIENS (1986), in order to make his plan to defeat the Maw more apparent to Stark.  This allusion openly linked the wallcrawler to Ontario born and raised film artists and film “scholars” and to the dread allegorical Zone Wars.  Curiously, the film also saw Lee in one of his final marvelous cameos play the school bus driver who drove Parker and his MSST classmates on a school field trip to MoMA, implicitly linking Smilin’ Stan to Gardevil again-and both to allegorical art.  Even more curiously, the poor ol’ Spiderdevil faded away into nothingness at the end of the film. 

 

For her part, Susanna Fogel also implicitly linked the POG that year to the fittingly creepy Russian assassin, Nadedja-played by Ivanna Sakhno-who was taken on and taken out by the implicitly Polley and SCC linked ordinary friends thrust into extraordinary spy jinks, Morgan and Audrey-played by McKinnon and Mila Kunis, respectively-in the twilit, allegorical and CGI enhanced film THE SPY WHO DUMPED ME (2018), released on July 25, 2018.  Soon after, Jon Turteltaub also implicitly addressed Gardevil in the daylit, allegorical, CGI enhanced and Ozian themed docufeature film THE MEG [2018], a film released on August 8, 2018 that was inspired by the twilit and allegorical Steve Alten indie docufiction novel MEG: a novel of deep terror [June 1997].

 

“!Jonas is right!”

 

        Significantly, the film began with a tense prologue deep in the Philippine trench with a rescue mission led by the bald and implicitly Gardevil and Scarecrow linked Jonas Taylor-played by Jason Statham-that did its best to save the trapped crew of the stricken nuclear sub SSBN Rogue.  However, when to the shocked dismay of Taylor, something big and nasty began battering the sub to pieces, Taylor made the fateful decision to break the deep sea rescue [DSR] craft free from the SSBN Rogue and return to the surface, saving eleven crew members and rescue personnel including an injured crew member implicitly linked to Spielberg-played by Mark Trotter-but leaving two DSR men, D’Angelo and Marks-played by Rob Kipa-Williams and Tawanda Manyimo, respectively-to die when the big nasty destroyed the sub.

 

        Curiously, the film then jumped forward five years to the Mana One ocean research station located 200 miles off the coast of China, just as its underwater research vehicle Origin, piloted by Taylor’s beautiful, brainy, bold, blonde and implicitly Sarah Polley and Dorothy linked ex-wife Lori Taylor-played by Jessica McNamee-was passing through a protective and freezing cold hydrogen sulfide “thermocline” layer deep in the Marianas Trench that hid a never before seen magic undersea kingdom located at the record breaking lowest depth in the world, much to the delight of Mana One’s billionaire and implicitly Lucas and Great Oz linked backer Jack Morris-played by Rainn Wilson-an implicit link to Lucas affirmed by the film’s allusions to the short and CGI sea monster plagued underwater sequence at the beginning of STAR WARS EPISODE I: THE PHANTOM MENACE in particular and to the STAR WARS Classic and Tragic Trilogies and the eerily and presciently twilit, allegorical and implicitly Stanley Kubrick roasting Lucas indie docufeature film THX 1138 [1971] in general.  However, soon after reaching that record making lowest depth, the same big nasty that battered the SSBN Rogue to explosive pieces in the film’s prologue showed up to batter and disable the Origin so badly that an urgent rescue mission was required in order to save Lori and her two oceanographer crewmates, Doctors Toshi and “the Wall”-played by Oka Masi and Olafur D. Olafsson, respectively.

 

        Desperately needing a DSR expert, the implicitly Coppola linked Mana One CEO Dr. Zhang Minway-his company, Zhang Oceanic, fittingly creating a “ZO” logo that was “OZ” spelt backwards to affirm the implicit Ozian theme of the film, and played by Chao Winston-and the implicitly Taika Waititi linked Mana One operations manager James “Mac” Mackreides-played by Cliff Curtis-took a twilit chopper to Samut Prakan, Thailand to track down Taylor and persuade him to head the DSR mission to rescue Lori, Toshi and the Wall.  Significantly, seeing the bald, bitter and brooding bachelor Taylor in his beat up and lonely Thai apartment affirmed his implicit link to Wright, evoking the equally tragicomic sight and sound of the bald and bitter bachelor Gardevil brooding over the TZ disaster and the dread allegorical Zone Wars in his beat up and lonely Streetsville apartment.  Indeed, the sound of Pim’s Thai language version of the allegorical and Michael D. Chapman and Nicholas B. Chinn written Toni Basil tune “Mickey” [1982] playing when we first met Taylor knocking back cool brews in a bar reaffirmed his implicit link to Gardevil, for the link of “Mickey” to the twilit and disastrous year of 1982 reminded us that ’82 was the year that everything changed forever for the POG.

 

        Persuaded to head the DSR to rescue Lori, Toshi and the Wall, Taylor did his best and managed to rescue Lori, the Wall, and Dr. Zhang’s beautiful and implicitly SCC and Glinda the Good linked chief marine biologist daughter Suyin-played by Li Bingbing-who had tried but failed to rescue the truly twilit trio of one woman and two men herself in a small Yellow Brick Road coloured glider that evoked a similar Gungan undersea craft seen in that CGI sea monster plagued underwater sequence at the beginning of STAR WARS EPISODE I: THE PHANTOM MENACE to reaffirm the implicit Lucas addressing intent of THE MEG on one level.  Alas, Toshi courageously sacrificed his life and the Origin by drawing the big nasty towards him so that the others would live.  Significantly, however, the rescue mission revealed that the big nasty that destroyed the SSBN Rogue and the Origin was a blockbuster CGI enhanced Megalodon super shark beast quickly dubbed “the Meg”.  A blockbuster CGI apex predator Meg beast that managed to leave behind the magic undersea kingdom by following Taylor’s rescue craft Evolution through the hydrogen sulfide layer and then proceeded to wreak voracious havoc on human boaters and swimmers in the everyday world above.  At this point, the film became a CGI enhanced remake of the eerily and presciently twilit and allegorical Spielberg docufeature film JAWS [1975] fused with the twilit, allegorical, CGI enhanced, and Ozian themed Spielberg docufeature film JURASSIC PARK [1993], with the Mana One people launching a desperate mission to track down and kill the Meg, albeit with a bigger boat, implying that the Meg was linked to Spielberg. 

 

However, after the mission succeeded, an even larger and more voracious Meg than the first appeared, and one that soon gobbled up Morris, implicitly linking the first Meg to the Wicked Witch of the East, and the second bigger Meg to the Wicked Witch of the West.  Significantly, given that the equally voracious Disney had gobbled up Lucasfilm/ILM, Marvel and Pixar by the time of the release of THE MEG and in 2019 would gobble up Twenty-First Century Fox, and given that the Mickey Mouse evoking “Mickey” played when Taylor was met in the bar in Thailand, the implication was that the Wicked first blockbuster CGI enhanced Meg was linked to Spielberg, and that the Wicked second and larger blockbuster CGI enhanced Meg beast was linked to Disney.  Indeed, the presences of the implicitly SCC linked Suyin, the implicitly Polley linked Lori and the implicitly Waititi linked Mac affirmed the implicit link of the second Wicked mega-Meg to mega-Dis, reminding us that SCC, Polley and Waititi had all worked on Disney productions by the time of the release of THE MEG.  The sight and sound of the Wicked mega-Meg being hunted down by the Mana One people on the good ship Charlotte and then killed by Suyin and Jonas in two duct taped Gungan Yellow Brick underwater gliders as the blockbuster CGI beast aggressively gobbled up Chinese bathers in Sanya Bay off Sanya City on Hainan Island in southeastern China, aggressive gobbling openly linked to the CGI inspiring TZ disaster when two inattentive Sanya tv news helicopters covering the mayhem crashed into each other, in the literally eye-poppin’ 3D end, also affirmed the blockbuster CGI beast’s implicit link to the mega-Dis, reminding us that the mega-Dis was aggressively courting Chinese audiences at the time. 

 

Thus, the sight and sound of the Wicked mega-Meg Witch of the West being fittingly gobbled up by a horde of smaller sharks as it lay dying in Sanya Bay implied that Gravity Pictures, the Chinese co-producers of the China-U.S. production, were sending a message to the mega-Dis not to pursue Chinese audiences too aggressively or piss them off, lest they turn against and refuse to watch Disney, Lucasfilm, Marvel and Pixar films.  Indeed, the sound of the Pim cover of “Mickey” playing in its enThairety over the closing titles affirmed that concluding implication, for the original Basil version of “Mickey” had a chorus that included the English lyrics “…you take me by the heart when you take me by the hand”, a chorus that climaxed with the plaintive plea “…don’t break my heart Mickey!”

 

Surprisingly, later that year Reitman thoughtfully implied that Wright was smart, talented and even charismatic but doomed to self defeat like the implicitly Wright linked two time failed U.S. Democratic Presidential candidate Senator “Mavis” Gary Hart-played by Hugh Jackman-in the unusually large, big budget, impersonal but down to Earth, brash, confident, twilit, allegorical and slightly CGI enhanced indie docufeature film THE FRONT RUNNER [2018], released on August 31, 2018.  Then alas, the following year, and unfortunately for the world, Holland’s implicitly Gardevil linked Spidey soon returned from limbo to help take on and take out a past manifestation of Brolin’s implicitly Eisner linked Thanso and save the universe, a triumph that killed the implicitly Reitman linked Stark-played again by Downey jr.-but ended the Eisner Era [EE] and kicked off the Iger Era [IE] at the end of the twilit, allegorical, CGI enhanced and oh so super satirical Russo Brothers animaction film AVENGERS: ENDGAME [2019], released on April 22, 2019.  For his part, Tarantino also implied a grimly and wryly bemused interest in the POG in the twilit and allegorical indie docufeature film ONCE UPON A TIME…IN HOLLYWOOD [2019], released on May 21, 2019.

 

“They can only hang me once, right?”

 

Indeed, Wright was implicitly linked throughout the film to depressed, emotional, shy and struggling film and telefilm actor, Rick Dalton-played by DiCaprio-an implicit link affirmed by Dalton’s love of reading, his love/hate relationship with film and telefilm art, his work with the Fraser River evoking and seriously focused “actor”, Trudi Fraser-played by Julia Butters-on a Western telefilm series and his resigned, sympathetic, hard driving and music loving stunt double, Cliff Booth-played by Pitt-who evoked and was implicitly linked to Wright’s equally resigned, sympathetic, hard driving and music loving friend, Brian Gillam.  The sight and sound of Dalton tracking and gunning down notorious outlaws in his role as the steely eyed and implacable bounty hunter with the Gardevil cadenced name of Jake Cahill on the Fifties telefilm series BOUNTY LAW reaffirmed that implication, for it reminded us that the equally steely cross-eyed and implacable Zone War “scholar” Wright did his best to track down and expose the most notorious outlaws of the dread allegorical Zone Wars in his “scholarly” book and essays at www.zonewarsonfilm.com.  Indeed, the sight of Vic Morrow on an ad on the side of a bus for the allegorical telefilm series, COMBAT! (1962-67), affirmed the film’s implicit interest in Morrow, the TZ disaster and the dread allegorical Zone Wars.

 

Thus, the sight and sound of the shrewd and knowing veteran Hollywood agent, Marvin Schwarz-played by Al Pacino-persuading “Deltan” Dalton to leave behind years of one off special guest appearances as “the heavy” in one black and white telefilm series after another for a year making full colour spaghetti westerns and spy films in Italia to transform his spirits and career implied the hope of Tarantino that the poor ol’ Gardevil would leave behind years of being ‘the heavy” of the dread allegorical Zone Wars for a new writing assignment that would also transform his spirits and career.  Indeed, this implicit intent was reaffirmed by the sight and sound of Dalton and Booth terminating the implicitly Cody, Reitman and Mary Harron linked hippy psychos, Sadie, Tex and Katie-played by Mikey Madison, Austin Butler and Madisen Beaty, respectively-at his house on Cielo Drive in Los Angeles in the by now de rigeur explosion of climatic ultraviolence to end a Tarantino film.  For the twisted trio’s termination not only allowed stunt scarred and hard bitten Booth and anxious and insecure Dalton-and, by implication, Gillam and Wright-to save film art for another wacky day, in the implicitly embodied form of Dalton’s young Italian film actress wife, Francesca Capucci-played by Lorenza Izzo-but also led to Dalton being invited over to visit his next door neighbour, Sharon Tate-played by Margot Robbie, who was linked to film art created in the GTA forever by way of her role as Dr. Harleen Quinzel aka Harley Quinn in SUICIDE SQUAD-and her friends. 

 

And so Dalton was literally embraced by Hollywood fame and fortune after leaving behind Katie, Sadie and Tex, reaffirming the hope of Tarantino that Wright would become more successful if he left behind Cody, Kennedy, Reitman and the rest of the players in the dread allegorical Zone Wars and wrote a more meaningful and Zone free screenplay or somethin.  Tragicomically, a day after the release of ONCE UPON A TIME…IN HOLLYWOOD, King implicitly roasted Gardevil again in the implicit form of indomitably eccentric secretary/detective Holly Gibney in a twilit, allegorical and implicitly Guillermo Del Toro roasting solo adventure called The Outsider (May 22, 2018).  Then it was off to more wisecrackin’ and webshootin’ action as  Columbia, Dis, Marv, Sony, Pascal Pictures and Watts teamed up again with Holland, Revolori and Tomei and implicitly kicked off the EI and rebooted the MCU with the twilit, allegorical and CGI enhanced Watts super satirical animaction film SPIDER-MAN: FAR FROM HOME (2019), a film released on June 26, 2019 whose implicit interest in the POG was affirmed by allusions to MEN, WOMEN AND CHILDREN, THE FRONT RUNNER and YOUNG ADULT.

 

““Uneasy lies the head that wears the crown.””

Stark said you wouldn’t get that

because it’s not a STAR WARS reference.”

 

Curiously, the film began with the Columbia Pictures logo and its accompanying Statue of Liberty evoking woman in a white toga holding aloft a torch in her right hand morphing into a white stone statue of a Madonna or a female Saint standing in a field, evoking the sight of the much larger limestone “Canada Bereft” statue at the Vimy Memorial in France, immediately affirming the film’s implicit interest in Canada and its film art, film artists and film “scholars”.  Then the film saw the Gillam evoking but implicitly Spike Lee linked SHIELD Director Nicholas J. “Nick” Fury-implicitly linked to Kirby by Kirby and Lee in Marvel Comics, and played by Samuel L. Jackson-and the implicitly Tonya Lewis Lee linked SHIELD Agent Maria Hill-played by Cobie Smulders-investigating a town in Mexico destroyed by a Kansas tornado of a cyclone that unusually had a face.  Soon an unknown man in a superhero-like suit, cape and fishbowl helmet-played by Jake Gyllenhaal-rocketed out of the sky and landed in a cloud of green smoke like the Wickety Witch of the West and, soon after, blasting fittingly Wicked green energy out of his hands, helped Fury and Hill fight a huge Stay Puft man of a blockbuster CGI beast that also erupted out of nowhere from the ancient bowels of the Earth.

 

Meanwhile, in New York, after an oh so moving MSST student made “In Memoriam” visual tribute to the superheroine and two superheroes-Johansson’s Black Widow, Downey jr.’s Iron Man and Bettany’s Vision, respectively-lost in the battle against Brolin’s Thanos in AVENGERS: INFINITY WAR and AVENGERS: ENDGAME or retired like Evans’ Captain America after those titanic events all to the sound of the Dolly Parton written and sung tune “I Will Always Luv You” (1973) and a brief summation of the five year “Blip” that brought audiences back up to speed with the MCU, Holland’s returning MSST high school student Peter “Spider-Man” Parker celebrated the end of the five year “Blip” by leaving behind the luvly, luving and Mrs. Wright evoking Aunt May-played again by Tomei-and joining a group of his fellow students, including his new paramour Michelle “MJ” Jones-Watson-played by Zendaya-and his good and implicitly Bruce McDonald linked friend natty Ned-played by Jacob Batalon-and heading off on a school trip to visit some of the major cities of Europe.  Significantly, soon after arriving in Venice, the first of the cities, a blockbuster CGI Stay Puft beast rose out of the water and went on a rampage, a blockbuster CGI beast that evoked the equally blockbuster CGI electro-musical beasts created by the final battle of the bands at the end of SCOTT PILGRIM VS THE WORL.  As soon as the beast arrived, the mysterious superhero-like man seen in the prologue of the film appeared and flew down from the sky, implicitly linking the mysterious man to Edgar Wright. 

 

Curiously, after joining the mysterious  and green energy blasting man in taking on and taking out the beastly water “Elemental” in Venice while wearing regular clothes, Parker than donned an unusual and all black flying monkey and Venom evoking “Night Monkey” suit supplied by SHIELD-and a new pair of equally hi-tech sunglasses that showcased the latest helpful AI named EDITH [a fittingly cocky Stark acronym for Even Dead I’m The Hero, and played by Dawn M. King] bequeathed to him by Stark, whose ghost haunted the film from start to finish-and joined the mysterious and Wicked man who turned out to be Quentin “Mysterio” Beck , a surname that reminded us that the indie music of Beck figured prominently in SCOTT PILGRIM VS THE WORLD to reaffirm the implicit link of Beck to Wright, in desperately taking on and taking out another towering and blockbuster CGI Stay Puft beast made of fire before it destroyed Prague.  However, when it turned out that the fiery Stay Puft Elementals were illusions created by the duplicitous and vainglorious Mysterio and his team of illusion tech tricksters, Spidevil eventually joined SHIELD Director Fury and SHIELD Agent Hill and the implicitly Steve Saklad linked ex-Stark right hand man James “Happy” Hogan-played by Jon Favreau-in triumphing over Mysterio and his malevolent minions.

 

Fittingly, the triumphant climax over Mysterio, his team and the last illusory and truly Foursfull Mega-Elemental blockbuster CGI Stay Puft beast took place in London, England no less, a location that implicitly affirmed the link of Spidey to a Crazy Canuck linked to Canadian film art, film artists and film “scholars”, given the influence that London and its people had and still have on the history and development of Canada, and the implicit link of Mysterio to Wright.  Just as fittingly, this triumphant climax in London saw Parker decked out in a hi-tech Spidey suit he designed himself using Stark technology, its red, white and black colours evoking the red, white and black seen on the jerseys of Canadian national hockey teams to reaffirm the implicit link of Spidevil to a Canadian film “scholar”.  And so Columbia, Dis, Marv, Sony, Pascal and Watts implicitly and ironically triumphed over the CGI enhanced blockbuster beast with yet another CGI enhanced blockbuster beast of a MCU film and implied their hope that the poor ol’ Gardevil would help them achieve their ironic victory. 

 

And so the film ended with the allegorical and Charlotte Caffey, Kathy Valentine and Jane Wiedlin written Go-Go’s tune “Vacation” (1982) playing over the closing credits, openly linking the film and its hero to the twilit and disastrous year of 1982.  And so the curious sight and sound of J.K. Simmons, who played the jubilantly tyrannical and hirsute DAILY BUGLE owner/publisher/editor J. Jonah Jameson in the Raimi SPIDER-MAN Trilogy and returned as the unusually bald JJJ and newfound head of DAILY BUGLE.NET at the end of the teaser cut scene in the closing titles, pointing the way to merry Marvel multiverse mischief and mayhem in the next Spidevil film and openly linking the film to the film art of Reitman via his numerous roles in those films to affirm that the ghost of Reitman as well as Stark was haunting SPIDERMAN: FAR FROM HOME.  And so JJJ and Mysterio revealed to the world that Spider-Man was PP, with a little help from a disgruntled ex-Stark International (SI) employee named William G. Riva-played by Peter Billingsley-last and first seen in the twilit, allegorical and CGI enhanced Favreau super satirical animaction film IRON MAN (2008) who had returned as head of illusion tech for Beck. And so the possibility that Parker would become the next Iron Man and lead a new assemblin’ Avengers was implied throughout the film, needing another Spidey film to solve that mystery. 

 

At any rate, the following year there was also a garish enough tinge to the fittingly Fourceful four novellas collected in the twilit and allegorical King indie docufeature quartet If It Bleeds (May 2020), particularly the solo and titular Gibney adventure “If It Bleeds” that brought closure to The Outsider, implying it did that roasting the poor ol’ Gardevil again was King with implicitly garish novellas.  And more novels, for the following year King implicitly linked Gary William “Billy” Wright to ex-Marine sniper, assassin for hire and wannabe writer William “Billy” Summers in the twilit and allegorical indie docufiction novel Billy Summers (August 2021), an implication affirmed by supporting characters like Benjamin “B.C.” Compson, Gadsen Drake, Bucky Hanson and Albie Stark, roads less travelled with names like Holland Street and Pearson Street, a character wearing a Blue Jays cap and the fact that Summers after his final assassination not long after leaving Gary, Indiana.  Rest in peace, Billy, and…rots of luck in the hereafter.  Not long after, Sir Scott donned the director/producer hats and teamed up again with Damon, Max, Wolski and Yates to implicitly complete a Foursfull Wright Quartet in the daylit, allegorical, and CGI enhanced Scott Free indie docufeature artbuster THE LAST DUEL [2021], a film released on September 10, 2021 that was inspired by the daylit and allegorical Eric Jager indie book The Last Duel: a true story of crime, scandal and trial by combat in medieval France [2004].

 

“He postures and mopes about

like a black cloud...

I-I care very little

for this character.”

 

Curiously, the film began on a grey and dour day at a jousting field in Paris on December 29, 1386 with the sight of a beautiful, blonde and Polley resembling and implicitly linked young woman-played by Jodie Comer-being slowly dressed in underclothes and a straitjacket evoking black dress intercut with the sight of two stolid and sturdy knights-played by Damon and Adam Driver, respectively-being fitted into their suits of armour by faithful squires before mounting horses, racing at each other and crashing lances on each other in a jousting arena while the beautiful black clad blonde watched alone and shackled at the top of a little wooden tower ominously fitted out with a pile of logs at its base for burning.  Then the rest of the number three obsessed film told the story of the events that led to this deadly duel from the perspectives of the two men and one woman seen in the short prologue, starting from the bloody, brutal and losing battle at Limoges on September 19, 1370. 

 

The first tale was seen from the perspective of the midsized, blonde, battle scarred, socially awkward and ironically illiterate Sir Jean de Carrouges-played by Damon-the second from the perspective of the tall, black haired, handsome, charming and highly literate Captain Jacques le Gris-played by Driver-and the third and last from the perspective of the first person seen in the film’s prologue, the blonde and beautiful wife of Sir Jean, Lady Marguerite de Carrouges-played by Comer-daughter of the implicitly Terry Gilliam linked Sir Robert de Thibouville-played by Nathaniel Parker.  Significantly, these three tales not only affirmed the implicit link of Polley to Lady Marguerite and Gilliam to Sir de Thibouville, but also implicitly linked Sir Jean and Capt. Jacques to Wright and Reitman, respectively, and their rivalry to that between Wright and Reitman.  Alas, these three tales also revealed that Capt. Jacques had become so bewitched by the beautiful Lady Marguerite that he hunted her down at her castle on a day when Sir Jean was absent and raped her, a rape that he believed was encouraged by Lady Marguerite and was perhaps also helped by Sir Jean’s hostile and implicitly Margaret Atwood linked mother Nicole de Carrouges-played by Harriet Walter. 

 

Thus, the sight and sound of the film coming full circle back to the future to the jousting arena with the honour and truth obsessed, unswerving, and indomitable knight Sir Jean in red and white Canadian colours over his suit of armour triumphing on horseback and on foot over the rapacious Capt. Jacques in blue and white Toronto colours in front of a callous crowd baying for death as in GLADIATOR to avenge the violated Lady Marguerite and save her from being burned alive for lodging her complaint against Capt. Jacques in the bloody and brutal duel to the death whose beginning was first glimpsed in the film’s prologue implied the hope of Sir Scott that Wright would also triumph over Reitman to avenge violated film art and free it from disgrace, in the end.  Indeed, the fact that Sir Jean’s triumph shocked and disappointed the good friend and patron of Capt. Jacques, the implicitly Elon Musk linked Count Pierre d’Alencon-played by Affleck-affirmed the film’s implicit interest in Reitman and Wright, for Musk was one of the four co-executive producers of the first film of Reitman, the brash, confident, daylit, allegorical, CGI enhanced and implicitly Lynch toastin indie docufeature film THANK YOU FOR SMOKING [2005].  The film’s allusions to the eerily and presciently twilit and allegorical Gilliam and Terry Jones indie docufeature film MONTY PYTHON AND THE HOLY GRAIL [1975], the equally eerily and presciently twilit and allegorical Gilliam indie animaction films JABBERWOCKY [1977] and TIME BANDITS [1981], and the twilit, allegorical and CGI enhanced Gilliam indie animaction film THE BROTHERS GRIMM [2005]-in which Damon played the implicitly Lucas linked Willhelm “Will” Grimm, thus openly linking THE LAST DUEL to the brilliant and madcap film art of Gilliam-and to the daylit, allegorical, CGI enhanced and implicitly Polley addressing Kenneth Branagh animaction film CINDERELLA [2015] also affirmed the film’s implicit interest in Gilliam and Polley.

 

For their part, Columbia, Dis, Marv, Sony, Pascal and Watts teamed up again with Batalon, Cumberbatch, Favreau, Holland, Revolori, Simmons, Tomei and Zendaya to implicitly continue the Spidevil adventures in the twilit, allegorical and CGI enhanced super satirical animaction film SPIDER-MAN: NO WAY HOME [2021], released on December 17, 2021.

 

“Public enemy number one!

…!Spider menace!

…God help us all.”

 

Curiously, the film began where SPIDER-MAN: FAR FROM HOME left off, with DAILY BUGLE.NET editor/publisher J. Jonah Jameson-played again by Simmons-righteously roasting and revealing the real identity of the graduating and implicitly Gardevil linked Midtown School of Science & Technology [MSST] student Peter Parker aka “Spider-Man”-played again by Holland-with his trademark vitriolic and vituperative venom and openly linking the film to Reitman again to affirm that his ghost was haunting this film a little bit as well.  A presciently fitting return of JJJ, for it reminded us that the reason for why Jameson had suddenly popped up in the Watts Spiderverse after appearing in the Raimi Spiderverse had not been explained at the end of SPIDER-MAN: FAR FROM HOME, preparing us for more and this time fully explained manifestations from the Raimi Spiderverse and the Marc Webb Spiderverse later in SPIDER-MAN: NO WAY HOME.  For depressed about everyone on Earth knowing his real identity and making the lives of Aunt May-played again by Tomei-her ex-luver “Happy” Hogan-played again by Favreau-his slinky luver Michelle “MJ” Jones-Watson-played again by Zendaya-and his best friend natty Ned-played again by Batalon-a misery and preventing the titanic teen trio from realizing their dreams of being accepted for admission by the Massachusetts Institute of Technology [MIT], Parker hunted down the sour, sarcastic and implicitly King linked ex-Master of the Mystic Arts, Doctor Stephen Strange-played again by Cumberbatch-at his Sanctum Sanctorum and appealed to the wily wizard to pass an amnesia spell that would erase all knowledge that he was the woeful webhead from everyone on the planet.

 

Alas, interfering with Dr. Strange as he tried to cast the spell so that the spell would erase knowledge of his super identity from everyone except those who knew he was Spider-Man caused the spell to go awry, dragging more characters from the Raimi and Webb Spiderverses of the Multiverse into the Watts Spiderverse.  First came five supervillians, the implicitly Kelly linked Flint Marko aka “Sandman”-played by Thomas H. Church-the implicitly Lynch linked Doctor Otto Octavius aka “Dr. Octopus”-played by Alfred Molina-and the implicitly Reitman sr. linked Norman Osborn aka “the Green Goblin”-played by Willem Dafoe-from the Raimi Spiderverse, and the implicitly Christopher Nolan linked Dr. Curt Connors aka “the Lizard”-played by Rhys Ifans-and the implicitly Tim Story linked Max Dillon aka “Electro”-played by Jamie Foxx-from the Webb Spiderverse.  Not content to draw supervillians towards him, the botched spell also drew the implicitly Cronenberg linked Peter Parker aka “Spider-Man”-played by Tobey Maguire-from the Raimi Spiderverse and the also implicitly Cronenberg linked Peter Parker aka “Spider-Man”-played by Andrew Garfield-from the Webb Spiderverse towards him, as well.  Creating a truly twilit trio of Spider-Mans who teamed up with Dr. Strange, MJ, and Ned to take on and take out the five super-villians with the usual CGI enhanced super satirical jackanapes and bring harmony back to Earth and the Multiverse. 

 

Curiously, once all of the supervillains were defeated and they and the webslingin’ visitors were returned to their universes and peace was restored, a resigned Dr. Strange was persuaded to recast the amnesia spell and successfully erase all knowledge that the Watts Parker was Spider-Man from everyone on Earth and the Multiverse-including MJ and Ned!-allowing Parker to start over again poor, unknown and missing a girlfriend and an aunt, due to Aunt May being killed by the Green Goblin shortly after she became the one to remind Peter that with great power came great responsibility, as a Canada evoking pre-Christmas snow fell softly on New York.  Thus, with Parker successfully ending up triumphant and with only one identity due to graduating from MSST, in the end, shedding dual identities to become only one Good person being one of the main themes of the piece, Watts implied his hope that Wright would finally leave behind his Library Technician job at Streetsville Secondary School and go on to become a successful writer or somethin’, in the end.  

An implicit interest in linking woeful Wright to a superhero that implicitly continued when DC and Warners teamed up with Andy Muschietti to create the daylit, allegorical, CGI enhanced and Ozian themed super satirical animaction film THE FLASH [2023], released on June 14, 2023.

 

“Sounds about right, Bruce”.

 

        Indeed, the dark, gloomy, haunted, troubled, solitary and implicitly Wright and Tin Man linked Wayne Enterprises bachelor CEO Bruce Wayne aka “Batman”-played again by Affleck-teamed up in Gotham City with the goofy, fast talking, twitchy and implicitly Baruchel and Cowardly Lion linked Barry Allen-played again by Miller and by Ian Loh in flashbacks, respectively-and the beautiful, glamorous, intelligent and implicitly Jolie and Dorothy linked Amazon Princess Diana aka Diana Prince aka “Wonder Woman”-played again by Gadot-to take on and take out a trio of bank robbers led by one resembling and cheekily linked to Baruchel-played by Rob Hunt, Jonny Stockwell, and Michael Byrch, respectively-before Flash flashed on to a hilarious time travelling and Eric Stoltz extolling "Flashback To The Future" misadventure that evoked AVENGERS: ENDGAME fused with SPIDERMAN: NO WAY HOME that led him to team up with his younger and also implicitly Baruchel and Scarecrow linked past self-also played by Miller-and their temporal Dark Side-also played by Miller-to initially prevent the murder of his mother Nora Allen-played by Maribel Verdu–before accepting her murder and switching to freeing his father Henry-played by Ron Livingston-from being wrongfully imprisoned for Nora’s murder, an adventure that was helped out by the mysterious, dark, gloomy, haunted, troubled, solitary and implicitly Lucas and Great Oz linked Wayne Enterprises CEO Bruce Wayne aka “Batman”-from the Burton Batman films, complete with Danny Elfman Main Theme, and played by Michael Keaton-and the implicitly Elliot Page linked Kara Zor-El aka “Superboy”-played by Sasha Calle-that curiously also involved fighting the renegade and implicitly Tarantino and Wicked Witch of the West linked Kryptonian Evildoer General Zod-played by Michael Shannon-and the rest of his flying monkey evoking Kryptonian cronies.  At any rate, one thing was implicitly certain, that continued THE FLASH did the woeful sub-genre known regrettably as…Cinema Garite. 

 

 

 

 

 

 

 

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