The implication that an audience’s emotions should be wrenched out than coaxed out is as arrogant as ‘Midsommar’ is self-indulgent.
‘Yesterday’ knows exactly how charming it is and goddamnit is it fun.
‘On the Basis of Sex’ failed to find and use the fortitude of its subject, rather relying on the convention of “humble beginnings” and sucked all the air out of its own story.
There is a lot of well-meaning ignorance floating around this story, but ignorance is only well-meaning if it does more good than harm.
That McCarthy plays Israel with the fearful distrust of an abused dog creates a distinct relationship between viewer and subject: she’s a protagonist that begs to be sympathized with but doesn’t command it.
It’s tempting to believe that the post-Weinstein revelations would yield semi-immediate results, given the fervor with which the court of public opinion rendered their verdict against those men. But then a film like “The Wife” comes along.
I swam, I tanned, and I mostly binged.
Catching up on three weeks’ worth of watching! New movies, old TV, revolutionary comedy, and more.
Summer, traditionally, is not a fun time for me.
Deservedly or not, Hereditary has claimed its place among other well-received horror films of the last year or so that can be classified as genre-bending horror. Get Out functioned as social […]