Queer BAFTA-nominated writer and southern water trash. You decide which part of that is more interesting.
This review may contain spoilers. I can handle the truth.
Wood and McHattie do great work as one stranger trying to connect with another stranger barely tolerating them. This was the most uncomfortable and most successful aspect of the movie.
Reaches a point of getting so lurid in the last act that it mostly feels silly for its own sake. Also, its use of an an Aphex Twin track will surprise you.
Lotta leg trauma (+2 stars). Gleefully violent and glittery (+2 stars). The wardrobe (+3 stars).
A series of confused symbols, too much sympathy for the cops, and really superficial representations of both white supremscists and the complicated folks at the center of Black revolutionary thought.
It’s a movie made to lend comfort to white audiences that they’re not those kinds of racists.
After introducing a dialog about the impact of violence on victim and victimizer, Halloween (2018) runs out of things to say.
The kills are suitably 2018 brutal (one character complains that Meyers’ ‘78 rampage wasn’t all that worth getting worked up about, seemingly performing an end-run around modern viewers’ complaints). That’s pretty much all it’s got going for it, though.