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  • Emma.

    Emma.

    ★★★

    Thank Black Phillip that Anya Taylor-Joy accepted the devil’s bargain to live deliciously, otherwise we would have been spared the scrumptious spreads of Emma’s delectable buffet of baked goods and mouthwatering treats. From the nimble macaron to the towering croquembouche, just gazing at the saccharine foodstuffs of Autumn de Wilde’s Jane Austen adaptation is enough to give the viewer a diabetic flair-up. 

    A want for sugary confections is not the only cloyingly sweet thing on display in this humorous, frilly,…

  • The Invisible Man

    The Invisible Man

    ★★★★

    The idiom of the wolf in sheep’s clothing is a particularly terrifying one. By virtue of his unassuming appearance, the predator becomes non-threatening. He can hide in plain sight and hunt with all the privilege of inconspicuousness. If looks could kill. The only thing worse than a predator in sheep’s skin is one with no skin at all. Those who lurk not in the shadows, but in the light of the lord. Luring the unsuspecting into their hidden traps. Predators…

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  • War for the Planet of the Apes

    War for the Planet of the Apes

    ★★★★★

    Let’s not split hairs – though with the sublime mane work the necromancers at WETA have accomplished here, splitting hairs is definitely within the realm of possibilities – War for the Planet of the Apes is a remarkable achievement on nearly any rubric. A narratively pulsating, emotionally turbulent survival epic complete with near-miraculous FX work and sumptuous production design, War sets itself so far apart from the average summer blockbuster that it risks being undefinable. As bleak as anything I’ve…

  • Black and Blue

    Black and Blue

    ★★½

    What could have and should have been a lean mean socially-relevant cop thriller turns to indulgent putty in the hands of director Deon Taylor (The Intruder, Meet the Blacks.) Black and Blue hangs on but a single idea, one that James Moses Black’s Officer Brown conveys to his fellow pigmented protagonist Alicia West (Naomie Harris) early on in the film, “You're not black anymore. You're blue.” Meaning, the rookie cop should now identify as police, not African-American, because that is…