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  • Golden Exits

    Golden Exits

    ★★

    I don't know whose shoes Ross Perry is stepping into, but his neoyuppie New York City milieu is tedious when it isn't going full throttle with its misanthropy. In Golden Exits, the toned down presentation of a group of miserable (and yet, quietly, successful and "together") thirty-somethings and an early-forties former Beastie Boy is exactly what sucks whatever fun is at an Alex Ross Perry party right out of the room. His ambitious and morphing aesthetics---since The Color Wheel, but…

  • I, Tonya

    I, Tonya

    ★½

    I'll likely never understand how or why I, Tonya was made in this way, a movie that seemingly eschews the normal delivery of the Tonya Harding story---previously seen as a messy, E! True Hollywood Story-esque type of tale, with z-list celebrity appeal and the gritty zest of true crime exploitation---while inevitably falling back on said delivery. I, Tonya still depicts Tonya Harding and her band of white trash failures (sorry for the bluntness, but this is how the movie introduces…

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  • Moonlight

    Moonlight

    ★★½

    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…

  • Max My Love

    Max My Love

    ★★½

    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,…