Film
Come True squanders all of its narrative potential in favor of an awkward and poorly developed romance and a “twist” ending even M. Night Shyamalan would scoff at.
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This is a dazzling debut by filmmaker Rose Glass, who has made a powerful film that is grounded, first and foremost, in the monstrousness of daily living.
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It’s as though Moxie‘s writers pulled out a long “woke” checklist and tried to cram in something about every hot button issue they x’ed off.
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Exuding a guerilla theater, agitprop vibe (with touches here and there of vaudeville and live sketch comedy), F.T.A. is a thrilling expression of pacifism and accountability directed at the military.
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This is a thoughtful, surprisingly moving, and extremely ambitious film, one that employs an innovative style and some unconventional pacing to explore an unusually complex philosophical and emotional landscape.
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Without ignoring the terrible-beautiful magnetism of the industrial imagery we love to hate and hate to love, the camera is gradually, gently, drawn across the river and away from the workday, to spend time with these very real humans who serve the machines.
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Is Do Not Split a fine example of provocative filmmaking? Yes. Should you watch it? Certainly. Will it help you understand the forces feeding the discontent and shaping the discourse generated by the conflict? Not really.
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Crisis takes on the opioid crisis – which has killed more people than the war in Vietnam — and gives corporate villainy (Big Pharma) the Hollywood treatment.
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The problem with I Care a Lot is that, despite its intimations of reality, there are tropes and story elements that come off as melodramatic for melodrama’s sake.
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Pop Culture Commentary: The Rise of the “Boomer Doomer”
Hippie Boomers have morphed from being figures we were horrified to see victimized (think “Easy Rider”) to the kind of people that audiences are positively happy to see get their comeuppances.
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