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A Girl Walks Home Alone at Night



She would have been a good woman,” The Misfit said, “if it had been somebody there to shoot her every minute of her life.” 

-Flannery O’Connor, A Good Man is Hard to Find

The Girl in “A Girl Walks Home Alone at Night” is a lonely unnamed vampire. Like Flannery O’Connor’s The Misfit, she is an outcast living on the fringes of society, committing acts of violence against people who more or less deserve them. When she bites off the finger of the drug dealer Saeed and then drains the blood from his neck, it is deserved because he has terrorized Arash, the protagonist in the film who has to take care of his drug-addicted father.

"Us"



Us is not a movie about Black people but a movie in which the main characters happen to be Black. That statement is both true and misleading. Although the film makes no overt references to the Blackness of their lead characters, the fact that the lead characters are Black is already, by itself, a sort of proclamation. Sure, Black people have appeared in horror films as tropes (the Black character who is murdered first or within the first two acts) or as leads in Blaxploitation movies (Blacula comes to mind) or even leads in indie and Hollywood films (Night of the Living Dead and Vampire in Brooklyn) but Us is different.

Nothingness in "The Irishman"



The Irishman is about nothing.

This is not to be taken in the classic Seinfeld-ian connotation of the phrase. The Irishman is certainly about many weighty themes and ideas. It’s about the United States government and the US electorate and capitalism and the means of production and familial relationships and fraternity and loyalty and aging and mortality. It’s even about the proper way to store and transport fish and poultry. It’s about men and their lives and what those lives are, if they are not careful, filled up with: nothing.

Mandy


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From the trailer, Mandy has all the shiny elements that one could reasonably hope to see assembled in a modern film. There’s Nicolas Cage in a role that looks tailor-made for the type of freak-out for which he has become famous, there’s satanic imagery, occult undertones, distorted sound, dark lighting, blood, guts and grime. It’s not the kind of film that draws in your attention for the possibility that it might clarify a universal truth. It is the kind of film you watch when you want to scratch a very particular and well-known itch.

Peter Bogdanovich's "Targets"



Perhaps the most depressing thing about Targets is believing in its prescience: it makes sense to watch the film and believe that it predicts our current era of mass shootings and domestic terrorism. The truth, that the film is loosely based on a mass shooter from the 1960s and that mass shootings stretch back several decades, reveals Americas complicated history with murderers, mental health, domestic terrorism and craziness.