The White Tiger is a fantastic film, and I’ am absolutely flummoxed that I had only heard about it this week.

I think part of my disbelief stems from what I recognize as one of the greatest strengths of 2020-21 COVID awards season—strengths which I believe Tiger expertly exhibits. Some of the most talked about films of the year (and the likely Oscar front-runners) include such great works like Nomadland, Sound of Metal, Minari, Ma Rainey’s Black Bottom, Da 5 bloods, Never Rarely Sometimes Always, Pieces of a Woman, Promising Young Woman, Malcolm & Marie, and One Night in Miami.

If that sounds like a long list to you, that’s because it is—and that’s a good thing. We should always be thankful for more great movies, and part of what makes all these movies so good is that they are telling us stories that we simply just don’t hear enough. They’re fresh and exciting, while remaining entertaining.

The White Tiger is no exception. The eighth film by writer-director Ramin Bahrani, Tiger is an evasive predator of a film, avoiding all award season buzz until its release. It is an honest commentary on several facets of Indian society, supported by cinematography of oftentimes thoughtful artistry, and one of the best cast performances of the year. Spoilers below:

Continue reading “The White Tiger: a smart, stylish commentary well worthy of awards season attention” →

On Thursday, January 28th, 2021, Republican Congressman Matt Gaetz of Florida traveled to Cheyenne, Wyoming. It would be Gaetz’s first-ever visit to the Cowboy State, and in only about an hour of his arrival he would find himself speaking on the steps of the state’s capitol building.

“I love Wyoming!” announced Gaetz, his first words to a crowd of roughly 700 spectators. It would seem, then, that even for his short time being there, Big Wyoming had made one heck of an impression on the 38-year-old lawmaker.

Continue reading “The Party’s Over: Gaetz, Trump, and the future of conservatism in America” →

I’m just going to come right out and say it.

I like Andrew Yang.

Continue reading “Good men and bad faith: the Andrew Yang situation” →

“Let me get there,” come some of the first totally intelligible words of Darius Marder’s Sound of Metal. It is an expression that carries a sense of some yearning, of some search for something that is not yet had. Where “there” exactly is, and what happiness it can give to those who find it, is the fundamental question of this film, one of the most beautifully composed in recent history. Spoilers below:

Continue reading “Sound of Metal: a journey of masterful production” →

Some of the most persistent images that we have of famous historical figures are due, in part, to their even more famous representations in fictional media. Shakespeare comes to mind, who has immortalized, among others, Richard III (in reality a man of a for-the-most-part average build and typically ambivalent ideas of governance) as a drastically deformed, vile, scheming political manipulator. One Night in Miami offers no such radical departures from the truth, however. Though based in a pretend set-up, the film is a highly entertaining, highly informative piece of art not in spite of its adherence to the reality and true nature of its characters, but because of them.

Continue reading “One Night in Miami: a heavyweight contender of historical fiction” →

I love realist cinema. I was very impressed some weeks ago by Never Rarely Sometimes Always, and if I ever get around to immortalizing my own list of the “greatest” films ever made, I know I will no doubt mention the works of Jia Zhangke, like Xiao Wu and Unknown Pleasures. These works of art and others like it, though based in reality, are nonetheless exemplars of human imagination. They show us that real, true human lives can be compelling and even exciting without the need of magic, special effects, or a subject’s highly adventurous choice in occupation. The writer-director team of romantic partners Kornél Mundruczó and Kata Wéber provide audiences with another entry in the genre by way of Pieces of a Woman, a film based on their own tragic experiences. The film has a lot going for it, but unfortunately it cannot separate what is real from what is, at times, kind of boring. Spoilers below:

Continue reading “Pieces of a Woman: a crumbling structure supported only by a few key foundations” →

Period pieces are often lauded for the “relevance” of their content and themes, and when these films concern themselves with racial relations and identity, such commendations are but a sad testament to America’s short-term memory of its own history. In spite of this somewhat oblivious irony, it no doubt holds true for the wonderfully produced Ma Rainey’s Black Bottom. Spoilers below: Continue reading “Ma Rainey’s Black Bottom: a fantastic stage-to-screen adaptation” →