Buy this product here: Tequila Because Murder Is Wrong Shirt, hoodie, tank top
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Tequila Because Murder Is Wrong Shirt, hoodie, tank top
Winstead, Brie Larson, Chris Evans, Alison Pill, Aubrey Plaza, Jason Schwartzman, Kieran CulkinRotten Tomatoes Score: 81%Rating: PG-13Runtime: 113 minutes
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In many ways, all of Edgar Wright’s films have been romantic comedies in some fashion. Shaun of the Dead just happens to have zombies and Hot Fuzz just happens to have two males as its romantic leads. In this way, Scott Pilgrim vs. The World is perhaps Wright’s most clear-cut attempt at a rom-com. The story deals in a situation that is all too familiar in the relationship world—that of dealing with your romantic partner’s past romantic baggage. However, to paraphrase Scott Pilgrim’s own words, this emotional baggage (i.E., his girlfriend’s evil ex-boyfriends) is actively trying to kill him every 30 seconds. Just as in a musical, where characters start singing when emotions run too high, Scott Pilgrim dishes out videogame-style duels whenever emotional conflict comes into play. As heightened as Scott Pilgrim may seem at times, its undertones are all too relatable. —Mark Rozeman
Raoul Peck focuses on James Baldwin’s unfinished book Remember This House, a work that would have memorialized three of his friends, Martin Luther King Jr., Malcolm X and Medgar Evers. All three black men were assassinated within five years of each other, and we learn in the film that Baldwin was not just concerned about these losses as terrible blows to the Civil Rights movement, but deeply cared for the wives and children of the men who were murdered. Baldwin’s overwhelming pain is as much the subject of the film as his intellect. And so I Am Not Your Negro is not just a portrait of an artist, but a portrait of mourning—what it looks, sounds and feels like to lose friends, and to do so with the whole world watching (and with so much of America refusing to understand how it happened, and why it will keep happening). Peck could have done little else besides give us this feeling, placing us squarely in the presence of Baldwin, and I Am Not Your Negro would have likely still been a success. His decision to steer away from the usual documentary format, where respected minds comment on a subject, creates a sense of intimacy difficult to inspire in films like this. The pleasure of sitting with Baldwin’s words, and his words alone, is exquisite. There’s no interpreter, no one to explain Baldwin but Baldwin—and this is how it should be. —Shannon M. Houston
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