The metaphor of things falling on deaf ears. The metaphor of the dance as display of performativity and indirectness. The indictment of the the normalization of American tragedies. The mirror. A reflection of all the kinds of people existing in the cancel culture era of the internet age, the pretence of safe spaces, and the fallacy of empathy: the cynical critic, the one who raises social red flags about everything, the performative imposter, the shameless self-deprecator, the straight person/voice of…

I used to be on the Board of Directors for a non-profit elderly care centre, so this movie is very funny to me in an absurd way. In general, it's funny, and its humour doesn't insult our intelligence. But in the context of the pre-Pandemic zeitgeist, it's a reflection of the anxiety of human trafficking, revelry and resentment of capitalism and home ownership, and the post-#metoo wave of girlbosses (see that fuck ass bob???). It passes the Bechdel Test, that's for…

This might be the most perfect movie I've ever seen. Not to say that any individual aspect was achieved to the absolute greatest extent that it could or has, but everything fit together so seamlessly. Every image on screen, every sound, every facial expression, every outfit choice (how many people are gonna be yellowcoat Grace or shawl collar Grace for Halloween?); nearly each frame was innovative and aspired to be iconic and could very well be selected as among the…

Here's a live-review list of grievances:
1) opening credits scene is way less epic than the OG's. The song also sucks in comparison. LeBron's been my favourite player since 2007 but I can't help but think that was all a vanity show for him.
2) the jokes are pretty terribly and distractingly cringy
3) replacing the cartoon aliens with Don Cheadle as a villain was a bad idea (and he chose to act badly; and the name Al G Rhythm…