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  • A Dark Song

    A Dark Song

    ★★★

    STOP. NORMALIZING. SATANISTS.

  • Three Billboards Outside Ebbing, Missouri

    Three Billboards Outside Ebbing, Missouri

    ★★★½

    I'm honestly not really sure what this screenplay is trying to do with these exaggeratedly humanized characters, but there's plenty good stuff out there to read and hear on its muddled messages (I particularly like Matt Patches' and Tasha Robinson's takes on this being a depiction of Twitter). What hasn't been discussed enough is McDonagh's skill with atmosphere. I mostly consumed these frames on a purely visceral level-- soaking in Ben Davis' colorful and diverse palette, cowering from the tension of seemingly inevitable outbursts of violence, empathizing with the emotions radiating from the performances. It's a helluva ride.

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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.