When Life Is Scarier Than the Movies: Get Out (2017)

(How do I say this without sounding racist?) I feel like this film would’ve been scarier for me if I were Black. It operates brilliantly on three simultaneous levels: parody, social commentary, and allegory. But unless you’re a constant victim of racial prejudice, a situation that reaches its nadir in the lived experience of African Americans, none of those levels are horrifying on a strictly visceral level.

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Thoughts on a Couple of Times Richard Brody Hits the Nail on the Head: War Machine (2017) and Colossal (2016)

The extremely well-read (and well-screened) and cerebrally articulate Richard Brody, who’s also a Jean-Luc Godard expert, is often led by his vast knowledge of films and experience in watching them to proffer up a major head-scratcher of a review—his take on Boyhood (2014) is a good example. It’s probably precisely because he’s seen so many films that his taste has become so refined, as the legendary Pauline Kael observed could happen (in section X) all the way back in 1969. But credit where credit’s due: He absolutely, positively, indubitably nails two recent films.

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Guns, Turns, and Feels: Baby Driver (2017)

Richard Brody does it again, punching out another takedown of a stylish film simply because it doesn’t measure up to the century-long history of cinema. The essence of his argument can be summed up in this line: “Editing to music as if he had just discovered vintage MTV, Wright cuts images together quickly, too quickly to let much be seen.” That’s director Edgar Wright’s signature style, Brody. And what’s wrong with some vintage MTV?

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Thoughts on A Silent Voice (Eiga Koe no Katachi / 聲の形 2016, aka The Shape of Voice)

Some thoughts on this award-winning film about a deaf-mute girl, bullying, guilt, and reconciliation, taken from a discussion I had at the anime review site That Just Figures!.

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What We Talk about When We Talk about Anime Logic: Your Name (Kimi no Na wa / 君の名は 2016)

Today I want to talk about anime logic and why it’s not the same as plot holes, using a number of examples, but mainly looking at Your Name (Kimi no Na wa君の名は 2016). Before we begin, I just want to remind everyone that this is a site that does “Spoiler-Filled Analysis of Films and Film Reviews (and other related stuff),” and Your Name is definitely spoilable. So if you’re bothered by that kind of thing, stop reading this until you see the film, get spoiled, or decide you don’t care. (As chienntai will tell you, I choose the third option quite frequently.)

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