Jon Cole
adminJoined March 2026
Streetwise Hercules.
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“Even if I boot up Plex to watch something specific & I've got my mind made up, there's a 20% chance I'll end up watching the House of the Devil instead.”
“Left wondering if the exploitation of an animated character stops with the characters who wronged her in the film, or if it extends to the filmmakers themselves. If there's no one actually suffering the humiliation, is the natural response to project suffering onto the inanimate ink? Or to draw conclusions about how the filmmakers feel about real, live women? These questions wouldn't seem so boring if so much of the film didn't feel gratuitous for gratuity's sake. A little restraint can go a long way, just ask Tobe Hooper.”
“Kind of funny that they reproduce Dr. Grant's velociraptor talon scene from Jurassic Park. This movie is everything you think it would be & not much more.”
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Each dot is a film Jon Cole has rated, colored by score. Lines connect films that share cast, crew, franchise, studio, or themes — thicker lines mean stronger creative overlap. Teal dots are unseen films pulled in by high-rated favorites.
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“Even if I boot up Plex to watch something specific & I've got my mind made up, there's a 20% chance I'll end up watching the House of the Devil instead.”
“Lots of Clockwork Orange vibes here, where Anson Boon's character ends up paying for chaos he creates. A very convincing droog in the first act of the film.”
“Typically, I'm firmly in the anti-gimmick crowd. But Victoria perfectly captures the feeling of an aimless night in a foreign city, where sometimes you do things just for the sake of doing things. Motivation might spring from having no part…”
“Kind of funny that they reproduce Dr. Grant's velociraptor talon scene from Jurassic Park. This movie is everything you think it would be & not much more.”
“Left wondering if the exploitation of an animated character stops with the characters who wronged her in the film, or if it extends to the filmmakers themselves. If there's no one actually suffering the humiliation, is the natural response to project suffering onto the inanimate ink? Or to draw conclusions about how the filmmakers feel about real, live women? These questions wouldn't seem so boring if so much of the film didn't feel gratuitous for gratuity's sake. A little restraint can go a long way, just ask Tobe Hooper.”
