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‘DON’T WORRY DARLING’ Caught Between Sexy Paranoid Thriller and MAGA Utopia

Make America Great Again

Don’t Worry Darling reminds me of the controversial John Lennon song “Women is the N***** of the World”. The 1972 single is agitprop at its most blatant, employing the titular racial epithet as a means of offensive, highly-loaded language to unsettle, upset, agitate, and shock the listener into embracing the parallel Lennon and Yoko Ono are drawing. Much like director Olivia Wilde (Booksmart) in her sophomore film which, in keeping with the art of exploitation, uses the provocative images of women self harming, receiving electro-shock therapy, and just generally being told they’re being crazy. The meaning of Lennon’s homology is lost on none who listen, equating worldwide sexism with American racism, challenging the global problem of subjugation and control with regards to gender politics. It’s a demanding song, and hard to love for many reasons, but it sticks with you. The problem with Don’t Worry Darling is that at some point in the midst of the film, shock turns to shlock. The challenging Lennon refrain fades, replaced, almost without any explanation, with the more familiar ballad of Beyoncé’s girl power anthem “Run the World”.  Read More

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Clunky ‘ETERNALS’ Reveals Chloé Zhao Ill-Suited for Marvel Universe

Nomandland writer-director and Academy Award-winner Chloé Zhao is celebrated as a humanist, naturalistic storyteller. A filmmaker who sinks into the very pores of the characters and communities she crafts her movies around. Telling stories from a deep understanding of what make these people tick and the idiosyncratic customs of their way of life, Zhao champions the use of non-actors and the backdrop of mother nature to achieve a lived-in, grounded aesthetic. With Zhao’s films, you often feel as if you’ve stepped into another universe, one that’s been squirreled away on some part of our planet we just didn’t know existed. Read More

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‘RAYA AND THE LAST DRAGON’ Is Disney Dominance on Autopilot 

For the better part of a century, Disney has been carefully formulating a template for blockbusting success. Churning out mega-hit after mega-hit on a semi-annual basis is no happy accident and the family-friendly behemoth has gotten that formula down pat – they’ve even exported it to the god-knows-how-many subdivisions of their corporate content creation stations. But going into any Disney animated movie specifically, you have a basic idea of what to expect: there will be a brave, slightly defiant female protagonist who doesn’t quite fit in with her community; an unbearably cute little animal sidekick who manages to be snarky even if they can’t talk; a quest to restore a kingdom; and a dead parent or two. You can never forget about the dead parent bit.  Read More