racism
Green Book and BlacKkKlansman both deal with race relations in America. We discuss why they may both be problematic in their discussions of race.
Green Book is an easygoing film about difficult issues, and that dichotomy will rub many people the wrong way, but will charm others.
Although it’ll be overshadowed by The Hate U Give, River Runs Red is an important film. The themes it explores make it a vital piece of social commentary.
In episode 3 of Doctor Who, our characters are exposed to the racism of 1950’s Alabama, where the team rallies to keep history on track for the future of the Civil Rights Movement in the USA…
Green Book is cinematic comfort food, equipped with witty performances and the aura of social importance, yet undistinguishable from the tons of other polite Oscar dramas that came before it.
Monsters and Men is beautifully directed, but it lacks focus, as its choppy and undeveloped structure soon distracts from the matter at hand.
With its clichéd and unoriginal plot, The Happytime Murders proves the era of puppets for adult entertainment may not be as effective as it once was.
Blackkklansman works on every level – it tells a wildly entertaining story while addressing a pressing social issue with intelligence and moral heft.
Some reviewers have called Blindspotting a buddy comedy, but that couldn’t be farther from the truth – this is a film designed to make you uncomfortable.
Sweetback’s rage is infectious, especially since the relations between the police and the black community have changed so little since the film’s release.
Sorry to Bother You is the perfect film for this particular moment – a moment that feels defined by the struggles of the ordinary people against traditional structures of power – even if it isn’t a perfect film.
Stephen Maing’s documentary deals with corruption and institutional racism in the NYPD – and recognises the police officers who are fighting a court case to help stamp this out once and for all.
Zac Hestand explores how Dee Rees’ Mudbound excels as a contemporary successor to the classic work of William Faulkner.
Funny Cow is one of the most harmful depictions of the British working class in popular culture since Sacha Baron Cohen’s Grimsby, in addition to being one of the most mindbogglingly racist and homophobic films in recent memory.
With all its success over the year and its deep political, racial and socio-economical undertones, and Oscars just around the corner, it seemed an appropriate time to dive back into the horror that is Get Out.