There's an Island of Misfit Toys feeling to almost all of Baker's films, heavily influenced by the Italian neorealism movement of the '40s and '50s. The work of De Sita and Fellini often focused on working class citizens on the outskirts of society; such are common themes for Baker's filmography. Tangerine, however, feels the most modern, carrying its life force on its sleeve. As a modern redux of Fellini’s Nights of Cabiria, Tangerine might follow a pair of transgender sex…
This review may contain spoilers. I can handle the truth.
There's something so beautiful about the scene that plays out over the end credits: a lone cheerleader, decked out in otherworldly Americana, dancing freely through the ruins of her country as a marching band plays "We Can't Stop". Everything is a disaster now, but maybe it'll be okay someday.
[... T]here's something very knowing about Assassination Nation, and while Salem may seem divorced from the rest of the world, the film is deceitfully literate in both concept and execution. This literacy extends itself to how the characters interact with the confines of the film itself, and the picture ends up being incredibly of its time.
This is a '70s Japanese girl gang film placed into modern America, meshing verbal gymnastics à la Heathers and Jennifer's Body with a post-Spring…