This is a favorite sociology movie, which inherently, of course, then meaning that it is not and in no way can be the greatest movie of all time.
I have something unique and precious to give to it.
To this movie, I am the absence, which sends its proof, which since favorite sociology absence can have an edition, ergo this review, proof from absence in this context can be an edition too; earlier this evening (in UK time), I used a Chris Stuckmann review on YouTube to turn James Wan's Malignant into a proof from absence - another edition, of proof from absence - while watching an episode, of the Drew Barrymore show.
The Drew Barrymore show is the true. Chris Stuckmann's show isn't. I make this point, because A Nightmare on Elm Street is the prototypical case of celebrity for reference - of teenager for fame.
I have something unique and precious to give to it.
To this movie, I am the absence, which sends its proof, which since favorite sociology absence can have an edition, ergo this review, proof from absence in this context can be an edition too; earlier this evening (in UK time), I used a Chris Stuckmann review on YouTube to turn James Wan's Malignant into a proof from absence - another edition, of proof from absence - while watching an episode, of the Drew Barrymore show.
The Drew Barrymore show is the true. Chris Stuckmann's show isn't. I make this point, because A Nightmare on Elm Street is the prototypical case of celebrity for reference - of teenager for fame.