How Black Panther Asks Us to Examine Who We Are To One Another
Rahawa Haile considers how, by sliding between the real and unreal, Black Panther frees us to imagine the possibilities — and the limitations — of an Africa that does not yet exist.
How then does one criticize what is unquestionably the best Marvel movie to date by every conceivable metric known to film criticism? How best to explain that Black Panther can be a celebration of blackness, yes; a silencing of whiteness, yes; a meshing of African cultures and signifiers — all this! — while also feeling like an exercise in sustained forgetting? That the convenience of having a fake country within a real continent is the way we can take inspiration from the latter without dwelling on its losses, or the causes of them. Black Panther is an American film through and through, one heavily invested in white America’s political absence from its African narrative.
When Killmonger goads a museum curator early on in the film, calling out a history of looting, it is condemnation that falls squarely on Britain’s shoulders. Rarely must the audience think about the C.I.A.’s very real history in Africa. The fact that viewers were steered, at any point, into rooting for Martin Freeman, a British actor playing an American C.I.A. operative who attempts to purchase stolen resources from a white South African arms dealer, means that even a cinematic turducken of imperialist history gets a pass.
The convenience of having a fake country within a real continent is the way we can take inspiration from Africa without dwelling on its losses.
It’s scary how the Memo makes Sandler and Murphy whipping boys, simply to sustain true Hollywood vulgarity. It perpetuates the collapse of critical thinking. When Sandler-bashing (and I don’t just mean the ludicrous Razzies, ratified only by tabloid media) turns into excoriation, it is necessary to examine the media’s cowardice and prejudices. The Sandler Memo has reduced criticism to a profession of chain letters.
Steven Hyden: Adam Sandler's inexorable march toward truth (Grantland)
Sandler's truth is that his onscreen persona has aged with his fans and experienced the same things at roughly the same time they've experienced it. Over the course of 20 years, Adam Sandler has gone from being a staple of sleepovers to dorm rooms to lousy apartments to the suburbs. And in that time he's remained, essentially, the same guy: He's "That asshole!," the incorrigible dickwad with a heart of gold, the loudmouth buddy who's progressively less fun to hang out with as you get older, the dude your wife forbids from crashing on the couch for "just a few days, I swear."
Keith Calder: vhxtv: We’re very proud to announce that VHX is powering the worldwide release of Indie Game: The Movie on June 12
But this is it. This is where we start. Crowd-funded on Kickstarter; self-released on iTunes, Steam, and VHX. Our Edison is Steve Jobs, our Chaplin is Louis CK, our multiplex is VHX, and our Warner Brothers is Kickstarter. I hope you can be our Hitchcock, our Curtiz, our Méliès, or our Griffith.
Allistair Pinsof: SXSW Review: The Comedy (FLIXIST)
The Comedy may be a challenging film, but it's one of the few character studies that has a clear focus and entertaining hook that will keep you invested. Heidecker was the perfect actor for this project. When he looks past his surroundings, you believe him. Sometimes making a joke is all you can do in a bad situation. For Swanson, life in its entirety is a bad situation.
Jim Carrey as a genius, the "representative jester of our time." "Carrey’s dream sequence of movies is a prophecy, a warning that this clanking ego-apparatus in which each of us walks around, this fissured, monumental self, half Job and half Bertie Wooster, cannot be sustained. Out of his own seemingly bottomless disquiet, Carrey writhes and reaches into the bottomless disquiet of his audience."