In the tradition of overtly satirical films, Riley's Sorry to Bother You slots right in as one of the most ambitious, absurdist, expressionistic, and politically charged movies of them all. And while I often find overt satire tiresome, from the "famed" pile of flaming trash, Network (Lumet), to the cooler Putney Swope (Downey Sr.), even the far east's Giants & Toys (Masumura), Sorry to Bother You circumvents the inevitable worn-out gags and plateaued absurdism by being so radically inclined, so thoroughly…

This is what happens when I’m home in my small town (the Hamptons are still a small town), with a small town theater, and the one movie I want to see I can’t because I’ve already promised to see it with others. My brother and I needed something to do. My mom goes to bed by 9. We regretted this decision. 

Why do movies like this keep being made (because marvel comic books are endless, meaning endless content is available…

After rethinking, retalking, and revising my thoughts, I'm giving this one another go:

I didn't love or even super like Moonlight; not because of the subject matter (which I happily champion its existence, especially as an "Oscar movie"), or because it's a "victim-movie" (a crude term I've encountered after seeing a few critics pussyfoot around the idea of not liking a movie because it victimizes its characters, which, you know, is dumb, because it is the prerogative of the filmmaker…

Nagasi Oshima's Max Mon Amour isn't like Sam Fuller's White Dog. This isn't an allegory for racism. Nor is it a Bunuelian attack on the bourgeois, despite Bunuel's hands being on the production. So what is this movie?
Like it's billed to be, it is probably the greatest ape-on-woman romance since King Kong (though Max, the ape, is life-sized). The eerie truth is that Oshima's "comedy" (which is antagonizing in its unfunniness) is a comedy because it makes us uneasy,…