This very well made, romantic movie may have made me a hardline communist.
The first image in Spike Lee’s Blackkklansman is a scene from Gone With the Wind. The last is a memorial to Heather Heyer, murdered one year ago while protesting racism in Charlottesville. In between is a movie that, as much as it is telling a true story, is also meditating on the ways that the images we consume of ourselves and of others impacts us. Blackkklansman is not just a great piece of filmmaking from one of America’s finest filmmakers, it’s a great piece of film criticism from the man who might be America’s best film critic.
Movies are alchemy. I’ve said this before, and I’m sure I’ll say it many more times before I’m gone, but it’s the truth of the cinema: a magical, hard to harness process can turn a strip of film into something far more precious and meaningful.
Watch WONDER WOMAN with distant, unengaged eyes and you might see the seams, the places where reshoots came in or where the story is papered over in order to keep moving along to the next…
This review may contain spoilers. I can handle the truth.
For STAR WARS to live, STAR WARS must die. Rian Johnson’s STAR WARS: THE LAST JEDI is a thrilling, layered and goddamned fun meditation on the tension between our need for legends and myths and the ways those legends and myth constrain and reduce us. STAR WARS is the film series that popularized the monomyth in the modern era, and Johnson walks right up to old Joe Campbell, kicks him in the nuts… and then gives him a hearty bear…