Pray for a man in the middle, one who stops you watching Dolittle.

“In isolation, Downey’s performance is a bizarre befuddlement for the ages.  In context with the rest of Dolittle, it’s perhaps the least baffling aspect of the entire enterprise.  Trust me when I tell you that one does not need to go in aware of the fact that the movie had seen its original writer-director Stephen Gaghan (of Syriana) effectively fired after turning in his test-audience-reviled first cut, undergone substantial reshoots with a new director (2014 Teenage Mutant Ninja Turtles’s Jonathan Liebesman) and writer (LEGO Batman and Robot Chicken’s Chris McKay) aiming to add humour and make it more family-friendly – Gaghan supposedly having turned in a really sombre, meditative movie about familial loss – and shunted way back from its intended mid-2019 release, to realise that something went horribly wrong here.  You know how Suicide Squad was very obviously the product of an unfinished panic-scramble by Warner Bros. to recut the dour nihilistic slog of David Ayer’s intended vision into something more closely resembling the wild goofy bad-taste fun times that the trailers had sold the movie as?  Universal’s Dolittle is what Suicide Squad might have been had Warner Bros. managed to finish their panic recut in time and it turns out that, nope, additional time in the oven would not have made the effort to course-correct mid-skidding-off-the-cliff any more natural or successful for that movie either.”

Full review exclusively at Soundsphere Magazine (link).

Callie Petch broke up with their boyfriend today and I don’t really care.

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