Rossellini lost his first son when he was a young child, seeing him work through the trauma in this way seems to reflect a newfound purpose discovered through his mourning, after what must have been a bleak finality articulated in Germany, Year Zero. The shock here is still brutal by virtue of what happens, but it's less honest and more constructed, which robs it of that earlier effort's downbeat tone. In fact, this whole film only gets sillier as it…
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Sweet Sweetback's Baadasssss Song 1971
What a terrible, disturbing way to open a film. Melvin van Peebles films his 13-year-old son Mario, playing his father as a child, being raped by a prostitute. This scene plays over and over during the opening credits, and leaves you with such a sour taste in your mouth it's hard to consider anything else that follows.
Which is a shame, because the rest of this is a grimy avant-garde tour de force. Undeniably film school-y, what with its awkward…
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Joker 2019
It's not often that I'll throw around the word: "pretentious," but I've yet to find a more accurate descriptor of Joker. The script is so horrendously transparent and each character other than our titular villain is paper thin plot dressing, spewing thematics bluntly or repeating "Thomas Wayne!" ad nauseam. Beyond this is the cut and paste or direct referencing of its inspirations, which is lazy but not nearly as offensive and distasteful as effectively weaponizing the woes of the populace…
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