The action is the dialogue.
The second Poetic Justice begins, its director riffs on what mainstream, largely white audiences expect out of a romantic drama, before immediately segueing into what mainstream, largely white audiences expect out of a John Singleton picture. It's an opening sequence that's as harrowing and virtuosic as anything in Boyz n the Hood, and it has storytelling value beyond its meta commentary, but the film then shifts into its true mode, that of a languorous road movie in which relationships ebb…
UPDATE/JANUARY 16, 2020: I was 20 years old when I posted this review. Since then, I've learned a lot more about cinema, made a few films myself, and aged seven years. I would not write a review like this today, though I must admit that I still find this one amusing. Carry on!
To say that Holy Motors has been praised would be the understatement of the century. It has been discussed and interpreted more than probably any other…