Slam! Movie Reviews [Y7 Edition]

[SLAM!]

SLAM! REVIEWS: SEPTEMBER ISSUE SPOTLIGHT

(Double Feature)

 

 

 

 

 

 

 

 

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COLUMBINE

 

dir. Sam Mendes

 

Columbine is a strange beast of a film. It's incomparable to everything else in Year 7. It values its script more than anything else, and it characterizes the two perpetrators of violence in a way that changed my view of the massacre as a whole. The storytelling is deeply flawed, but from the strict perspective of cinematic language, this film is a breathless portrait of two bored teenagers who chose hatred and violence on a childish whim.

 

Sam Mendes' handling of the film's material moves through the film's events swiftly and deftly. The decision to dance around the perpetrators' intention before committing to displaying it is a decision that disorientates the viewer, giving audiences a rare look at teenage angst and the hidden nature of evil.

 

Ansel Elgort shows a different side to his acting ability as one of the perpetrators, while Colin Ford is able to shine as well. This is a talented ensemble in that they act with the expressed purpose of portraying a historical event.

 

The film does falter somewhat, as there's very little cinematic flair [i.e. description] accompanying the dialogue. But this a film that I can easily visualize in my head. When people rush out of the high school, I see the framing of that event inside of my head. I see the excellent uses of shaky-cam in my head. I wish that the film attempted to add something to the conversation of Columbine, but I don't think that's what it was trying to do; I think its main goal was to be a historical representation, and I think it succeeded in that part.

 

This film is noble in the sense that it portrays the disgusting and spontaneous nature of evil. When that is shown to discerning audiences, they will be repulsed by the hatred and violence, thus steering them toward better attitudes. I respect this film for daring to make the bold choices it does, and I think this is the type of film that people will view as 'underrated' in the near future.

 

 

 

 

 

 

 

 

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LAIKA

 

dir. Christian Desmares

 

Laika is perhaps the most unique animated film of the year. It takes a story about Russia and displays it in a way that acknowledges the story's effect on global society as a whole. It's a smart film, and the dialogue that is presented is great. But said dialogue gave me a feeling of being underwhelmed by the film. By overstuffing the film with dialogue, the film's animation has fleeting chances to truly shine, leaving me wishing that the film had been live-action as opposed to animation.

 

I'll start by praising the voice acting. Carey Mulligan is brilliant as the emotional core of the film. Cillian Murphy and Douglas Hodge are also good fits for their roles. But personally, my favorite performances were the ones by Michael Sheen and Olivia Colman. Their performances carried with them a sense of dramatic gravity. I was slightly irked by some of the voice cast not having any previous voice acting experience, but I think the casting worked out in the film's favor more times than not.

 

The animation, when it's given a chance to come into its own, is absolutely brilliant considering its budget. It's beautiful to see the dog Laika have its dreams about space. I think there's a lot of places where there's beautiful visual content. I also appreciated the score by Max Richter, which complemented the film's animation.

 

I think the film falters because of the amount of dialogue in the film. There are entire conversations where people are sitting down and talking to one another. That's not animation. Therefore, I was underwhelmed by the amount of dialogue, because the beginning of the film geared me up for an emphasis on visual information rather than dialogue information. I expected something like I Lost My Body, in which there'd be many instances of the dog overhearing words about its fate, or struggling to survive, or, dreaming about space, or, well, being a dog. I began to lose some of my interest in the film when human characters started having lengthy conversations with one another. That's why I think the film is overstuffed, and that's why I think the amount of dialogue does a disservice to the 'magic' that could have been given to the story through animation--through visual information.

 

I still think the film is gripping in terms of what is presented to the viewer, but I feel like this film could've been a little more than it ended up being. I still appreciate the film being wholly unique when compared to everything else out there, and I really hope that people give it a chance when it comes to theaters. I encourage viewers to adopt an opinion that differs from mine.

 

[SLAM!]

31 minutes ago, 4815162342 said:

A thought or two.

 

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I'm sorry but I don't understand the criticism about The Long Way Home not being "about something" in part because you're recontextualizing first films in other sci-fi franchises based on developments in sequels, which is an unfair way of evaluating this movie. For example I would not say that the first Spark is really "about something" other than being a rip-roaring yarn, which is a-ok. It's only when you get into Homeward and beyond that the series starts digging really deeper into particular things, and funnily enough, most people would still say that the first film is the best.

 

The idea that everything has to be "about something" otherwise it's not as good is a false way of looking at film, IMO. 

 

Furthermore, I don't understand saying you don't understand what the film is trying to be. I feel like the tone and the style of the movie is obvious to me and I don't get how it not being Mission Impossible in Space or Racial/Xenophobic Politics the Film but instead something more classical at the start is some big negative. Some of the best sci-fi movies IRL are not that complicated or stylized in terms of identity. They just are what they are.

 

 

 

 

 

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I think you're right, actually. I apologize. I guess I've been spoiled by other films! 😂 I'm not one that's actually seen a lot of science fiction (I mean, I've seen the Star Wars films and a few Star Trek films--I've seen a few episodes of The 100--but I don't watch stuff like The Expanse and Firefly. I think I slightly misjudged it. I was probably looking for a way to categorizing the feeling of genericism that I had, and that's what I went with out of desperation.

 

Edited May 5, 2020 by SLAM!

[cannastop]

49 minutes ago, SLAM! said:

There are some jumps in storytelling logic, but the film manages to hold viewer's interest thanks to impressive visual design. This'll be an interesting one to watch at the box office. 6/10

Yeah in some preliminary script I wrote for Lena and the Featherweights I actually kind of showed what the "Sexism" was. But I deleted that and I didn't want to write it again.

[4815162342]

5 minutes ago, SLAM! said:

 

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I think you're right, actually. I apologize. I guess I've been spoiled by other films! 😂 I'm not one that's actually seen a lot of science fiction (I mean, I've seen the Star Wars films and a few Star Trek films--I've seen a few episodes of The 100--but I don't watch stuff like The Expanse and Firefly. I think I slightly misjudged it. I was probably looking for a way to categorizing the feeling of genericism that I had, and that's what I went with out of desperation. I'm thinking about the film a little more after reading it and I'll probably bump up the score to an 8.

 

 

You don't have to change a grade on my account, I just wanted to express my confusion as to that criticism since everything else in your review seemed to be very positive and that particular criticism did not make much sense to me since I feel like a film being about sudden first contact and an exploration of the strange and new and wider galaxy you're now a part of is a clear identity, especially since it dovetails with the events of the film getting into the late act being about more than one of the characters realizing they've only scratched the surface of what they're a part of. I guess you could said the theme/identity that the film is meant to start and carry over going forward is about finding yourself and your place, and how that perspective gets changed the more and more you know about what is around you.

 

I am glad you really enjoyed the other aspects of the film.

Edited May 5, 2020 by 4815162342

[cannastop]

11 minutes ago, SLAM! said:

It values its script more than anything else, and it characterizes the two perpetrators of violence in a way that changed my view of the massacre as a whole. The storytelling is deeply flawed, but from the strict perspective of cinematic language, this film is a breathless portrait of two bored teenagers who chose hatred and violence on a childish whim.

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Yeah that is kind of my view of the massacre. That it was a childish whim, but one that was fostered over a long time (although the film's timeline isn't very detailed on how long it was.)

 

How did your view change though?

 

[SLAM!]

2 minutes ago, cannastop said:

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Yeah that is kind of my view of the massacre. That it was a childish whim, but one that was fostered over a long time (although the film's timeline isn't very detailed on how long it was.)

 

How did your view change though?

 

 

 

 

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I had never thought of it as a childish whim. That idea was new to me.

 

[SLAM!]

4 minutes ago, 4815162342 said:

 

You don't have to change a grade on my account, I just wanted to express my confusion as to that criticism since everything else in your review seemed to be very positive and that particular criticism did not make much sense to me since I feel like a film being about sudden first contact and an exploration of the strange and new and wider galaxy you're now a part of is a clear identity, especially since it dovetails with the events of the film getting into the late act being about more than one of the characters realizing they've only scratched the surface of what they're a part of. I guess you could said the theme/identity that the film is meant to start and carry over going forward is about finding yourself and your place, and how that perspective gets changed the more and more you know about what is around you.

 

I am glad you really enjoyed the other aspects of the film.

 

 

 

 

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Thank you Numbers! I enjoyed this film--really. I'm going to be honest and say that I somehow glossed over the first-contact aspect of the film, so I was left a little confused about the purpose of the film. That's a misstep on my part. I had no idea this was about a first contact. My view of the film might've been different if I knew that going in. So me saying "not having an identity" probably was me saying I didn't really understand how it was different than other films. But that first contact angle makes things much more clear. I'm really sorry about that.

 

[SLAM!]

September Reviews

 

3:32 AM

It's gimmicky to the point of frustration. The charm is gone. 3/10

 

The First Month

A riveting and thought-provoking thriller! Alex Garland does one of the best directing jobs of the year! Johnny Greenwood's score is appropriately disconcerting! 9.25/10

 

Columbine

The storytelling is deeply flawed, but from the strict perspective of cinematic language, this film is a breathless portrait of two bored teenagers who chose hatred and violence on a childish whim. 9/10

 

Dawn of the Last Six

Much better and fully-formed than the first! See this spectacle in the biggest screen possible! 7.25/10

 

Fish Fry

It doesn't really do anything new, but it's at least somewhat earnest in its approach. 7/10

 

Laika

By overstuffing the film with dialogue, the film's animation has fleeting chances to truly shine, leaving me wishing that the film had been live-action as opposed to animation. 7/10

[SLAM!]

SLAM! REVIEWS: OCTOBER ISSUE SPOTLIGHT

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COUNTDOWN CITY

 

dir. Mimi Leder

 

Countdown City is the second film in the speculative-fiction trilogy kickstarted by Cary Fukunaga's The Last Policeman. The film continues its exploration of a society coping with a meteor's imminent collision with the earth. There's a quietly devastating tone, and it's the same tone that the first film had--excellent consistency. Countdown City maintains the intelligence and excellence established in the first film, thanks in part by the capable direction of Mimi Leder.

 

Ansel Elgort and Kaitlyn Dever continue to shine in their Oscar-nominated roles. The entire ensemble is smartly cast. Sophie Rundle is a subtly shattering presence as the character Martha.

 

The film fully commits to the sense of dread and hopelessness felt by the characters. The script continues to display its intelligent exploration, like when there are the scenes in the college. This film also does a great job building up the stakes to a fever pitch; the third film rests on a strong foundation between the first and second film.

 

I think this film is an improvement over the last one, while still staying consistent to its brilliance. A lot of people love this series, and for good reason.

 

 

 

 

 

 

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TONY HAWK'S PRO SKATER

 

dir. Ryan Coogler

 

Tony Hawk's Pro Skater is a better film than it perhaps has the right to be. The film teems with life and vibrance; it's a film that roots for its protagonist and films his exploits with style and pizzazz.

 

Gaten Matarrazzo is memorable as the lead character. The acting is good in this film.

 

The cinematography is dizzying, but impressive. The skateboarding scenes will leave you wondering, "How exactly did they do that?"

 

The story isn't mindblowing by any means. It's the underdog story that people know and love.

 

This is an effervescent film that many people should see in theaters!

 

[SLAM!]

October Reviews

 

Countdown City

Countdown City maintains the intelligence and excellence established in the first film, thanks in part by the capable direction of Mimi Leder. 9.25/10

 

Tony Hawk's Pro Skater

The film teems with life and vibrance; it's a film that roots for its protagonist and films his exploits with style and pizzazz. 8.5/10

 

Broadway Selects: Beetlejuice

Now, this is a Broadway show with a clear purpose for receiving a film adaptation! 8/10

 

The Layover

This never really goes anywhere exciting after the inciting incident. It sort of just fizzles out. Marketable performances from Alison Brie and Domhnall Gleeson aren't able to salvage that fizzling. 3/10

 

Adult Swim Bomb Scare Non-Fiction Documentary for Theaters

Fascinating facts paired with a riveting presentation! 8.25/10

 

The Turkey Squad

Bereft of intelligence. Don't let this movie gobble up your hard-earned money. 1/10

Edited May 6, 2020 by SLAM!

[SLAM!]

SLAM! REVIEWS: NOVEMBER ISSUE SPOTLIGHT

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TOWER OF BABYLON

 

dir. Denis Villeneuve

 

Tower of Babylon stands apart from everything else Y7 has to offer. It's a weighty film that employs breathtaking imagery and visuals to ruminate on Heaven, earth, man, and the ties between it all. It's also one of the best films of the year.

 

The imagery does a great job of emphasizing the elements, such as bricks, sand, sunlight, water, and whatnot. The production design is masterful and really draws the viewer into the film. The score by Gregoire Hetzel is outstanding, giving gravity to the journey that the main character goes through--beautiful uses of a variety of instruments.

 

I truly appreciate how much the film commits to its vague and abstract nature. It doesn't reveal much about the world; it just focuses on the tower itself. We don't even know what time period the film falls under, or if it's supposed to fall under a specific time period at all. To me, that's beautiful. The film commits to being an art piece as well as an epic--this is rarely done, and I'm really happy that this film actually went for it.

 

As the men in this film attempt to reach the highest of highs, so this film does as well. And that undoubtedly means that when the film goes to be released in theaters, it could very well fly too close to the sun. But I implore audiences to see this in theaters. The film offers life-changing ruminations on various subjects. Don't miss it.

 

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BIRDWING

 

dir. Nathan Greno and Byron Howard

 

Birdwing is movie magic. It's a film that attempts to tell a traditional Disney fairy tale, but it does so in its own way. The result is a meaningful animated film that paints a portrait of adolescence and self-discovery. 

 

The decision to cast Broadway actors and voice actors pays off in dividends here. Because the majority of the voices are unknown to audiences, there's almost nothing standing in the way of audiences and their suspension of disbelief. Eric Andre might have gone against this, but he fits his role extremely well, negating the potential problem.

 

The animation fits the film perfectly. It gives a sense of weight to the imagery. It's nice to see a fairy tale kingdom, because it's fun to see how many different ways an animation team can imagine a fairy tale kingdom.

 

I think the story will connect with a lot of people. Many people struggle to find happiness--in other words, they struggle to find themselves. This film's story can resonate with these people.

 

Birdwing is a brilliant animated feature that evokes a plethora of emotions. It's very reminiscent of Disney's traditional animated features, but it still manages to stand out on its own. Birdwing has the makings of a huge theatrical hit.

 

[SLAM!]

November Reviews

 

Ms. Blakk 4 President

The film has a habit of meandering within a scene, but the film contains two of the best performances of the year by Titus Burgess and William Jackson Harper, and it also has one of the most effective climactic moments of the year. I also appreciate how it gives audiences some insight into the process of running for U.S. President. Marielle Heller brings her talent to the film, making it an emotionally effective period piece. 8.5/10

 

Toons v Reality

A wonderful blend of different styles, Toons v Reality is comparable to Ratatouille in that it takes potentially dry material and breathes a humorous vibrance into it. With smart performances by Olivia Cooke and John Mulaney as well as a smart original script, this film is one of the best of the year. 9.25/10

 

Notorious

A nail-biting thriller--I could tell it was an excellent film, but it didn't quite grab hold of me this time. A better film than the material that inspired it. 8.25/10

 

Red Flavour

Too much grandeur. Too surface level. 5/10

 

Tower of Babylon

Tower of Babylon stands apart from everything else Y7 has to offer. It's a weighty film that employs breathtaking imagery and visuals to ruminate on Heaven, earth, man, and the ties between it all. It's also one of the best films of the year. 9.75/10

 

Birdwing

Birdwing is movie magic. It's a film that attempts to tell a traditional Disney fairy tale, but it does so in its own way. The result is a meaningful animated film that paints a portrait of adolescence and self-discovery. 9.5/10

 

 

 

Edited May 6, 2020 by SLAM!

[Ethan Hunt]

I'm so glad that you loved Tower of Babylon

[cannastop]

2 minutes ago, SLAM! said:

A better film than the material that inspired it.

[4815162342]

5 minutes ago, cannastop said:

 

Yeah I like what I wrote but I definitely do not think that

[SLAM!]

SLAM! REVIEWS: DECEMBER ISSUE SPOTLIGHT
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GREEN LANTERN CORPS: HOME

 

dir. Christopher McQuarrie

 

Green Lantern Corps: Home, in my opinion, is a step up from its predecessor in a variety of ways. The conflict is wonderfully centralized, and the social commentary, though unexpected, is necessary and well-executed. It's not just a great superhero film and a great Green Lantern film; it's also a great film in general.

 

The film nails the casting all around. Atrocitus is a great villain, and Hugh Jackman plays him deliciously. Nathalie Emmanuel and Rachel Weisz are nice additions to the cast, while Armie Hammer continues to display his charm, and Joaquin Phoenix shines in what evidently becomes the focal point of this particular film. While I do wish the film spent a smidge more time with Hal Jordan, the focus on Sinestro is a decision that pays off.

 

The series continues to be a technical marvel. The visual effects are beautiful, and the costume and makeup design are both standouts--again, I appreciate the application of real suits and real makeup, which makes things much more real for the viewer. It's not really a surprise at this point, but the action in this film is outstanding as well.

 

The story follows the tropes of continuity editing, which is a great choice for a film such as this. Audiences are able to follow the storyline as it moves from point to point. That's exactly what a large blockbuster should strive to do. I'm slightly irked by the ending and its implication, though. I'm sure I'm supposed to feel slightly irked by it. I won't spoil the ending or comment on it here, though. I'm really happy with this film, though, because thematic elements about themes like justice are woven into the seams of this film!

 

This film checkmarked every box for me. It's not "groundbreaking cinema," but it deftly manages to provide the blockbuster audiences expect from it. It's a great example of the traditional blockbuster, with thematic importance woven in. It does exactly what it's supposed to do. And trust me when I say that I'm excited for the next one.

 

 

 

 

 

 

 

 

 

 

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THE ENDS OF THE UNIVERSE

 

dir. Steven Ahn and Chris Palmer

 

This film takes cues from 2D-animated sci-fi films like Treasure Planet and Titan A.E. while still managing to come into its own. The stakes are kept to a manageable level because it resigns itself to being about a singular planetary community. What's more is that the visuals are breathtaking. The Ends of the Universe isn't a surprising film, but its measured and sincere approach to its story make it a film worth seeing in theaters.

 

This film acts as a logical stepping stone for Numerator Animation (I hope that's the name of it; I'm sorry if it isn't). The last film from them Sylvarius, which was a genre film that was willing to explore the outer edges of the genre's boundaries rather than the core of it. Viewers might disagree or embrace them as equals, but I prefer Sylvarius for a few reasons. It's mostly because Ends falls into some more familiar tropes, and the late-in-the-runtime main villain isn't too earth-shattering of a villain (at least to me). But I still think this film is movie magic, and I'll get into 'why' in the next two paragraphs.

 

I'll start with the performances. The lead performance by Yuri Lowenthal is one of the best of the year. He gives the character a vibrant range of emotion, and he's a huge part of making the character a great role model for the children who will see this film. John DiMaggio is an extremely fun villain as the pirate lobster!

 

I also really love the setting of this film. I love the alien species--I love their wings, and I love that they're "not quite human." It's a fun take on the discovery aspect, and between the winged species and the demon, there's some fun thematic implications between the good angels and the evil devil.

 

I wouldn't go as far to say that it's one of my favorite films of the year, but it's definitely a film that deserves the support of audiences. This film carries with it the hopes and dreams of many animation studios who want to begin making PG-13 animated features for pure-hearted storytelling reasons. Please see it in theaters. You'll love it.

 

[SLAM!]

CHRISTMAS BONUS SPOTLIGHT

 

 

 

 

 

 

 

 

 

 

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THE DISAPPOINTMENT

 

dir. Adam McKay

 

It's not really a surprise that critics are calling this one of the worst films of the year. But because it's the only film that its studio released this year, I've made the decision to give this film an extended review, so I can explore reasons as to why critics might be viewing this film as a bad film.

 

I'll start with the starring role of Russell Brand. Russell Brand has been typecast in a certain comedic role, and the film is meant to accompany his specific "brand" of comedy, but the unfortunate thing is that his "brand" of comedy feels outdated by about a decade at this point. This is also the kind of film that Adam McKay would have made about ten years ago before he stepped into the shoes of an Oscar-caliber director. The rest of cast feels like they'd be suitable for a 2000s comedy as well.

 

When Donald Trump talks with Russell Brand's character, we know that the film is trying to show a conversation between the protagonist and the president. The scenes has good intentions, but the character of the protagonist is an inaccurate representation of the character of the current president Donald Trump, which makes the entire scene somewhat jarring for discerning viewers.

 

The specific actions that the film depicts the protagonist doing don't really make sense, either. He starts a food fight at McDonald's and gets fired. Okay. That could be funny or somewhat cinematic! But I want to know why he started the food fight. He might have had a good reason to start one, but the film never addressed the point as to why he started the food fight. Therefore, the film brushes the storytelling principle of cause-and-effect to the side.

 

I don't think this is the worst film of the year, but good.movie Studios should feel obliged to make some changes to their storytelling approach if they want to be competitive in Cayom's current theatrical marketplace. There's a lot of things missing from this film in its current state. I hope this studio can come out with something more fully-formed sometime in the future. I have a nagging feeling that they can do better than this.

 

[SLAM!]

December Reviews

 

The Gift of Life

One of the most important films of the year--though it lacks an important synergy. 8/10

 

Green Lantern Corps: Home

This film checkmarked every box for me. It's not "groundbreaking cinema," but it deftly manages to provide the blockbuster audiences expect from it. It's a great example of the traditional blockbuster, with thematic importance woven in. It does exactly what it's supposed to do. And trust me when I say that I'm excited for the next one. 9.5/10

 

Until Dawn

There's some great set design here, and the cast is fun, but the different plot points in the film end up making the film really muddled. Too many twists and turns for the audience to keep up with. 6/10

 

Temple Run

The cast is fun, but it takes a really long time to get the adventure part, and when it does, it feels somewhat ham-fisted. There's also too many characters to keep up with. And it's somewhat too close to the source material. 5/10

 

The Ends of the Universe

I wouldn't go as far to say that it's one of my favorite films of the year, but it's definitely a film that deserves the support of audiences. 8.5/10

 

Making Waves 2

They calabungled it. 3/10

 

The Disappointment

I don't think this is the worst film of the year, but good.movie Studios should feel obliged to make some changes to their storytelling approach if they want to be competitive in Cayom's current theatrical marketplace. 2/10

[SLAM!]

Slam! Reviews is proud to present the magazine's Top 25 films of the year! There'll be some fun extras as well, such as a list of "Five Notable Trends" that movies had in Y7. Fun stuff like that.

 

Without further ado, here are the

HONORABLE MENTIONS

 

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DUAL CONSEQUENCES

 

This provides some great dissemination of the action genre. I liked this film a lot.

 

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SHOULD YOU IMAGINE?

 

This is a great sequel that will surely be a box office hit.

 

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NOTORIOUS

 

I really admire the creativity this film deployed. I really hope Karyn Kusama finds herself in the running for Best Director.

 

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STARLIGHT

 

I really love this movie. It's taking strides of artistic integrity. I just had trouble connecting to the characters in the film. This is the omission that irks me the most.

 

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THE LONG WAY HOME

 

I decided to go in a different direction, but I'm really excited to see where this franchise goes. My revised score of 8/10 will stand--I understand this film a lot more now.

 

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THREE GREAT DOCUMENTARIES: ADULT SWIM BOMB SCARE, THE GIFT OF LIFE, AND THE LAST FIFER

 

I decided to omit documentaries this time, but I think this is a great collection of documentaries. I hope these three become the Oscar nominees.

 

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THE WRITTEN WORD

 

This film might've been slightly fully formed if I didn't accidentally delete what I was typing. But that's okay. There's a vision in my head for this film, and I'm thinking of writing a screenplay out of this. But I'm grateful for the reviews it's received and I agree that it has the potential to come across as dry.

 

Edited May 7, 2020 by SLAM!

[SLAM!]

#25

 

 

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Scooby-Doo: Cult of the Creeper

 

I gave this a score of 8.25, but I put this in the list over a few 8.5-scored films because I really felt like it belonged on the list. I would've been frustrated with myself if it didn't make it. It's an original blockbuster that isn't afraid to travel in a certain direction.

 

#24

 

 

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Tony Hawk's Pro Skater

 

A wonderful underdog story that's filmed really well. I also loved the sound design because there's all the scrapes and scratches of the skateboards. Gaten Matarazzo's casting is brilliant.

 

#23

 

 

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The Ends of the Universe

 

The more I think about it, the more I believe that this PG-13 animated feature has something going for it. If the battles of Star Wars features delight children, then why shouldn't animated films try to do something similar?

 

#22

 

 

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Tongues

 

I enjoyed writing this. I regret not forming it fully, and I regret finishing this on Easter Sunday--not the best of choices when there's family to spend time with. But it was nice to write an abstract piece that doesn't try to oppress the viewer. I'm looking forward to reading any reviews and critiques it might receive.

 

#21

 

 

 

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Ms. Blakk 4 President

 

Its meandering lessened its impact for me, but I still believe this is a special film. It's also an extremely functional period piece; it's evocative of the 90s, and it's also evocative of today's time as well. I hope it's all over the Oscars like I think it might be.