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  • Django Unchained

    Django Unchained

    ★★½

    I saw Django Unchained when it was in theaters, almost exactly six years ago. The only distinct memory I have of seeing it is overhearing no less than *three* boyfriends explain the idea that "you see Tarentino movies for the dialogue" to their partners. I remember thinking, “Sure, I guess they're correct, that's why we're here. I'm not the one saying it out loud, though, and I understand the metatextual conversation between Tarentino’s genre deconstructism and the catalogue of exploitation…

  • Texas Terror

    Texas Terror

    ★★★

    These John Wayne serials sure are identical to one another! Texas Terror admittedly is built from sturdier stuff than the other ones I've seen, what with its *actual* plot twists and character-based drama, but you could probably watch a hundred of these in a row and come to the same conclusions as someone who's only watched ten.

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  • Stardust Memories

    Stardust Memories

    ★★★★★

    This is the Woody Allen litmus test. Everyone can agree that Annie Hall and Manhattan are great films, but Stardust Memories, a film that handily equals its predecessors, has had something of a cold reception. To some extent, Stardust's critical reception actually enhances the film because it actually reinforces the central theme. Sure, most critics picked up on Stardust's autobiographical nature and everyone sees the comparisons to 8 1/2, but that's window-dressing, not content. The film opens with a scene…

  • Rent

    Rent

    ★½

    I just could not believe less in any of these characters. In fact, I don't even like them. They all feel tailor-made to be exactly the kind of subtly boundary pushing series of non-white archetypes to challenge but not terrify a white middle class audience who try infering authenticity in a film rife with comfortable facade. In this way, Rent is not only unsuccessful in engendering sympathy for a subculture in a more secure and financially stable mainstream, but also…