Category: POC Filmmakers

Lupita Nyong'o, Winston Duke, Evan Alex, and Shahadi Wright Joseph in Us Perception vs. Reality: Thoughts on Jordan Peele’s ‘Us’
Film · POC Filmmakers

Perception vs. Reality: Thoughts on Jordan Peele’s ‘Us’

E WarrenLeave a comment

Sometimes you don’t need a take. Us is pretty good, the final act didn’t quite land for me in the way that it was supposed to, but the strength of the filmmaking and the sustained tension throughout that final sequence was enough to keep me through until the end. I guessed what the twist was right at the beginning, usually it’s not something I’m good at in films, and generally I try not to make a habit of it, so those final moments maybe didn’t hit me like they did some others.

Eva Melander and Eero Milonoff in Border Border Review — It’s a cleverer title than you know
Film · POC Filmmakers · Review

Border Review — It’s a cleverer title than you know

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So, Eva Melander’s Tina is a woman with this facial deformity who works customs in small Swedish port town, she displays the uncanny ability to literally sniff out those who come off the ferry smuggling contraband. When someone born with the same condition as her disembarks and volunteers to be searched, all of a sudden she doesn’t know for the first time what to make of someone. It’s an initial touch of charming magical realism. We see this woman hurry between her ailing father; a boyfriend that takes advantage of her; a world that discards her for her appearance — secure in the knowledge that, at least in her unappreciated vocation, she’s the fucking best.

Roza Salazar in Alita: Battle Angel Alita: Battle Angel Review —Soulless wonder
Film · POC Filmmakers · Review

Alita: Battle Angel Review —Soulless wonder

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The one thing that works in Alita: Battle Angel is Alita herself. Forget the strange discomfort you’ll have at first to the overlarge, CGI augmented eyes set inside that tiny impish face. Rosa Salazar’s performance as an amnesiac robot discovering the world for the first time is truly winning. Robert Rodriguez’s vision of a future after the devastation of most of the planet detailed enough that we are content largely to watch it unfurl through her eyes.

Kiki Layne and Stephan James in If Beale Street Could Talk If Beale Street Could Talk Review — Family values
Film · POC Filmmakers · Review

If Beale Street Could Talk Review — Family values

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It’s hard to know where to begin, every shot in this film aches with such sincerity and affection that by about the twenty minute mark I was already a puddle of tears in an oversized hoody. Sure, I’m a sucker for tragic romance, seeing struggling people pull together to face adversity. The leads of If Beale Street Could Talk are family; their problems are largely private and, while beset by problems from the outside world, they find strength in their unity. Barry Jenkins chooses to centre so much of his movie around acts of care, prioritising the depiction of tenderness in a world that can oft be so cruel.

Samuel L Jackson, James McAvoy and Bruce Willis in Glass Glass Review — First name Good, last name Movie
Film · POC Filmmakers · Review

Glass Review — First name Good, last name Movie

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I’ll admit, the first shot of Glass didn’t fill me with much confidence. A masculine bodied person, wearing a dress, stalks into a room to intimidate a new batch of abducted young girls. It spoke to everything that I hated about Split: its stigmatisation of non-normative bodies, the casual nature of its depictions of abuse. Our first glimpse into the lives of our self-identifying heroes and villains disappointingly confirms that not much has changed.

Lakeith Stanfield and Danny Glover in Sorry to Bother You Sorry to Bother You Review — Call out
Film · POC Filmmakers · Review

Sorry to Bother You Review — Call out

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I worked in a call centre for several years. So when, in the very first scene of this movie there’s this archly framed shot of Lakeith Stanfield’s hero in front of a noticeboard on which the contextless word ‘You’ is prominently displayed — I felt that. As he begs for a job with his fraudulent credentials across from the desk of some pasty old dude who is over-friendly and a little lascivious you’re firmly established in the realm of a workplace comedy. There’s echoes early on of Mike Judge’s Office Space, though we can tell that Boots Riley approaches the environment with a more easily apparent political bent.

Michael B. Jordan and Tessa Thompson in Creed II Creed II Review — Tainted legacy
Film · POC Filmmakers · Review

Creed II Review — Tainted legacy

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There are like a bunch of really good movies that I don’t really have an interest in watching because of their proximity to dads. Like, I love a lot of Rob Reiner films but have little to no interest in watching Stand By Me because it amounts to the favourite film of like half of all boring white middle-aged men. That and Shawshank, I guess the non-scary King adaptations draw them in. In fact a good half of Bob Zemeckis’ filmography is a no go zone nowadays. I’m sure that Rocky is a good film, I’m sure I’ll get to it eventually, but for now age has given it proximity to the most boring parts of our society.

Constance Wu, Nico Santos, and Awkwafina in Crazy Rich Asians Crazy Rich Asians Review – Conspicuous consumption
Film · POC Filmmakers

Crazy Rich Asians Review – Conspicuous consumption

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There is nothing more powerful in this world than a determined Michelle Yeoh. In the prologue to this film, arriving rain drenched to some fancy London hotel whose staff refuse to acknowledge her reservation, you wonder how these men are not rendered dead under her gaze. She has a better way to exact revenge though, and one phone call to her husband finds the hotel brought out from under them. She owns it now.