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  • The Rachel Divide

    The Rachel Divide

    ★★★½

    Dolezal is an undeniably fascinating subject, and simply doing a surface-level job of telling her story and the rippling impacts of her struggles with identity is good enough to earn my undivided (pun unintended) attention. Yeah, I wish the filmmakers pushed their subjects more in the interviews (particularly the strongly opinionated talking heads convinced of Dolezal's "violence" on the black community), but it's also pretty enlightening just to see her and her sons talk and struggle to put words to…

  • Jurassic World: Fallen Kingdom

    Jurassic World: Fallen Kingdom

    Didn’t think it could get any worse than it’s predecessor, but at least that film had a semi-subversive quality that was kinda interesting to talk about. This emotionally empty series of set pieces bored me to tears, and I’m generally a Bayona fan.

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  • Get Out

    Get Out

    ★★½

    Let’s the good out of the way first. Between the Key and Peele duo, Jordan always seemed to be the more cerebral and deliberate (and talented) half, and much of the first half of GET OUT delivers on his promise. The pre-title sequence is among the best staged horror I’ve seen post-SCREAM. The camerawork on display, with his ability to deploy intricate tracking shots and extreme closeups, is pretty rare for a feature debut and reminiscent of Shyamalan’s poise. Peele…

  • Force Majeure

    Force Majeure

    ★★★★½

    This film explores the primal instincts of men vs women a la Loktev's THE LONELIEST PLANET from 2012. Where that film was vague and essentially binary in it's progression (before event vs. after event), FORCE MAJEURE is explicit in its thematic notions and plays with them in several different scenarios throughout the runtime. Quite hilarious and contemplative. That scene at the ski lounge with the two male characters getting approached by women is gold. Also laughed my ass off at the dad's sobbing outburst near the end.