Tom Green is the version of Dalí, dada, Fluxus, Artaud, etc. that we deserve. Make of that what you will. There's no doubting the commitment here, at least.
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Breaking 2022
John Boyega's measured, mellifluous, essentially flawless performance obscures the mental anguish of someone pushed so far into a corner that he's willing to take two women hostage, mobilize a whole city's law enforcement, and sacrifice himself on those altars of temporary notoriety and attention. It's a mesmerizing and brutal process and Boyega embodies the contradictions in ways few actors can (and he's much, much better at American accents than Blanchett, Cumberbatch, or Craig), but it's a slight of hand ethically, in both directions. Still, it's difficult to shake.
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In from the Side 2022
It was everything I could do to get through this utterly ordinary gay romance. The film's only claim to novelty is the rugby field, and yet it manages to fuck that up, too, with some of the most inept and unconvincing sports choreography I've seen in a while.
But the worst of it is the generic dialogue. At one point, a character asks his lover and fellow "cheater," "How did we end up here, Mark?"
Oh, I dunno…a shitty script?
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Her 2013
I can't imagine anyone who reads sci-fi more than casually, or even someone who's seen a decent number of Star Trek: The Next Generation episodes, and especially anyone who's read Richard Powers' prescient and emotionally rich Galatea 2.2, or perhaps a reasonably informed average user of modern computers, to do anything but scoff and laugh at Spike Jonez's superficial attempt to speculate about artificially intelligent agents in, what? The near future? An alternate universe? Inside his head? Every time someone…
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