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  • Terminal

    Terminal

    ★★½

    It isn't nonsensical enough for something attempting to riff on Lewis Carrol, but the veneer is certainly there. Same with its veneer of neon noir and post-Pulp Fiction non sequiturs. It's a whole lot of nothing in service of SOMETHING, and that something is too much AND too little.

    Margot Robbie's having a hell of a time though, and that alone makes it an amusing watch.

  • The First Purge

    The First Purge

    ★★★★

    It doesn't so much hit you over the head with its ideas so much as it guns you down in the street with them, but we may be past the point where mere bludgeoning is enough.

    I like that EVERYTHING about The Purge is manufactured. Not only did it takes the government sending in the KKK and Russian mercenaries to really jumpstart the murders, while bribing citizens to stay in the area while it takes place (and all the implications…

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  • La La Land

    La La Land

    Gosling's character makes a big huff about jazz-- a dynamic art that has changed and morphed many times over the years-- and how it's dying. Never mind that the notion that jazz being on the verge of dying is fatalistic bullshit, despite this supposedly lingering fact, his character is also staunchly bound by tradition, despite the people he holds up as idols NOT sharing that sort of attitude. He cares more about who sat on a stool than he does…

  • Arrival

    Arrival

    ★★★★★

    When we try to come together, what we REALLY do is just redraw the divisions by which we identify ourselves. Thing is, it's said divisions that make us individuals. Our desire to be one with each other is at odds with our desire to be "me." Once you lay down the things that comprise your identity, you're also saying "other peeps are not that," and that will keep us from ever REALLY understanding one another. The only thing we CAN…