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3/10
A childish and masturbatory take on love and racism.
18 March 2022
If I was told that this film was written by a twelve year old fresh out of his first social justice lecture I would not have been surprised. None of the characters in this film acted remotely human, and I'm not even referring to the racism portion. The two leads fall in and out of love the same way we did as kindergarteners, the chicks in the bar acted like the mean girls from a high school film and everyone else is just a mindless NPC that says or does racist things. The only redeemable quality is the cinematography but even that is only above average. The particular scene where her children rejects her decision unintentionally made me laugh out loud because of how the camera just panned across all their disgusted faces for a good 15 seconds without anyone saying a thing.

Overall, I'd much rather think of this as a straight comedy and parody of what some people think racism is. It would otherwise be rather depressing to know that the person who made this is one of the most critically acclaimed directors of his time.
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The Batman (2022)
5/10
A blend of Se7en and The Dark Knight with a weak third act, forced romance and excessive ideological ambiguity.
14 March 2022
Warning: Spoilers
The third act was underwhelming and frustrating due to a very out-of-character decision made by the villain in what was otherwise a semi-reasonable and rather fascinating scheme to end corruption and bring about change.

The romance between the Batman and Catwoman was particularly off-putting for me as the actors had extremely little chemistry and their characters even less so. Catwoman is selfish, instinct-driven and overall quite morally reprehensible while Batman, despite his internal conflicts, has always tried to be the exact opposite of that.

That brings us to the film's ideological stance, and more specifically, that of the Batman himself. While we're used to having a Batman that is morally incorruptible and adamant in defending what he believes in, what we got in this movie was more of a complete pushover when it comes to beliefs. From the Riddler to Catwoman, characters in this film take every opportunity they get to out-victim the Batman as they make the argument that the death of his parents should mean little to nothing due to his wealth. This stance obviously disregards the insane amount responsibilities he possesses and how he manages to maintain a good form of righteousness despite such trauma at a young age. The same cannot be said about either Catwoman or the Riddler, who have either chosen to use their skill and influence for purely selfish goals or a goal that ended up not making any sense in the latter's case.

While it is a great thing that these flaws are present in all the characters beliefs and identity, my problem with it lies in the fact that the film purely focuses on bashing its hero's entire character while having him lay down and take these ideological beatings without fighting back, whether it was in his conversation with Riddler in jail or Catwoman at the end. It's almost as if the film supports the ideas of those two characters and just run with the incredibly one dimensional narrative of "rich people bad".

Obviously, my point on ideology can change over time as the movie has made it clear that this is only the beginning of this story with the shameless and ever so unoriginal sequel set-up near the end. Despite that potential redemption, it is frustrating enough to know that we can no longer expect satisfying stand-alone films, but will instead be dealt 2.5 hour long TV pilots that set up the next episode, only for it to also set-up the episode that comes after that. Oh well, I guess that's the ever-growing tumor that the MCU has planted in modern day cinema, and at this rate, it seems like that formula will never change.
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Eraserhead (1977)
8/10
Lynch's narrative feature debut, while rough around the edges, successfully plants the seeds for a legendary career in surrealist excellence.
14 March 2022
As with most directorial debuts, the film needs a lot of polishing especially when compared to the later works of the filmmaker. In this case, Eraserhead lacks the pacing and engaging effect of Blue Velvet while also paling in comparison to Mulholland Drive in about every department (especially considering the fact that both are meant to tackle the subconscious using dreams/nightmares). The biggest problem with Eraserhead is that it leaves too much room for interpretation in the end, thus causing it to cross the line between "death of the author" and "suicide of the author".

That said the picture was still very much an experience unlike many other. The major standout was the sound editing, which created a truly unbearable atmosphere. In addition, both the humor and horror aspects of the film, whether intended or not, were successful in accomplishing their respective tasks.
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Dune (2021)
3/10
A visually stunning example of bad storytelling.
24 October 2021
My expectations were incredibly high for Dune after having looked at the cast, director, composer and IMDB rating for this film. It is now safe to say that I have never been more let down by a film for as far back as I can remember. There was quite literally nothing on the character development front, which is a damn shame considering the people playing them can do wonders if only they were given better material to work with. Unfortunately however, you find yourself not caring about any of the characters in this film, not even a bit. The dialogue is about as generic as that of a Marvel film with all the quips taken out. The story is predictable at every turn. On top of that, it offered nothing new to the table when it comes to sci-fi/action/epic films. You can literally watch Star Wars, LOTR or GOT and be more entertained and satisfied in every single way. Overall, Dune doesn't have enough action to be entertaining and isn't thought provoking or original enough to be worshipped by "pretentious film goers" such as myself, putting it in this middle area that simply doesn't work.
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