The action is the dialogue.
The second Poetic Justice begins, its director riffs on what mainstream, largely white audiences expect out of a romantic drama, before immediately segueing into what mainstream, largely white audiences expect out of a John Singleton picture. It's an opening sequence that's as harrowing and virtuosic as anything in Boyz n the Hood, and it has storytelling value beyond its meta commentary, but the film then shifts into its true mode, that of a languorous road movie in which relationships ebb…
Years removed from Don Jon's release, I still get such a high from its first act: the onscreen fantasy of casting yourself as a romantic lead opposite Scarlett Johansson is perfectly matched by the behind-the-scenes fantasy of a first-time director being gifted unlimited freedom to put whatever he wants into thousands of theaters, executed with a blast of uproarious comedy and nonstop style. That the rest of the film fails to maintain that energy is almost a given, but it…
UPDATE/JANUARY 16, 2020: I was 20 years old when I posted this review. Since then, I've learned a lot more about cinema, made a few films myself, and aged seven years. I would not write a review like this today, though I must admit that I still find this one amusing. Carry on!
To say that Holy Motors has been praised would be the understatement of the century. It has been discussed and interpreted more than probably any other…