"A certain ideological incoherence is probably unavoidably imbricated in any major production, and I was amused to see in the end credits that Widows (a film, in part, unabashedly about systemic racism) credits as a consultant Bernard Kerik, the disgraced former NYPD police commissioner sentenced to four years in federal prison for tax fraud. Kerik was also a regular on Fox News at one point, which means ideologically he’s the opposite of everything this movie is for; this is a Fox film, so it’s also an example of synergy in action."
More trivia/weighted ambivalence here.
"It’s certainly not Burnham’s fault that what’s actually a fairly accomplished film is already ridiculously overhyped, but here are my two significant problems. One is the rather standard coming-of-age arc: I don’t necessarily mind the YouTube monologues Kayla makes in an awkward stab at attaining popularity through vlogging, choked with so many 'likes' and 'ups' that making a legal transcript of them would be particularly torturous. I do, however, mind the way each one articulates sets up the theme and…
"The plot is simple: a man (Christopher Abbott) wants to stab a sex worker (Mia Wasikowska) to death with an ice pick, but she turns the tables. Pesce’s adaptation of Ryu Murakami’s source novel follows the arc and major events closely but omits all interior psychology and context. Murakami’s (excellent) book is, at its core, a story about a man abused as a child who thinks that performing this one act will make it all go away; shades of Claire’s…