Sofia Coppola Wants You to Feel Bad for the Very Rich and the Very Sad
Sofia Coppola’s On the Rocks is yet another meandering depiction of life as a bored and alienated celebrity.
Eileen Jones is a film critic at Jacobin and author of Filmsuck, USA. She also hosts a podcast called Filmsuck.
Sofia Coppola’s On the Rocks is yet another meandering depiction of life as a bored and alienated celebrity.
John Carpenter’s movies provide visions of societies falling apart. No wonder his work is resonating now more than ever.
Amazon’s Borat sequel tries to replay the zany laughs of the original but picks easy, woke moralizing over funny social satire.
Netflix’s new Aaron Sorkin movie on the Chicago Seven tries — and fails — to turn a travesty of justice and an attack on the Left into a defense of American institutions.
The new season of Noah Hawley’s Fargo moves the action to 1950 Kansas City. It looks at Midwestern history and culture with raucous humor, wild plotting, and a rogues’ gallery of American oddballs in the best tradition of Mark Twain.
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The controversy over the new Netflix movie Cuties is so stupid, you never should’ve heard about it. But it’s gotten so hysterically overblown by this point, it can’t be ignored anymore.
Ellen DeGeneres’s reputation as the kindest celebrity in America has finally been shattered. But it’s not just her “mean streak” that’s the problem — it’s that she’s an exploitative boss, who cheated her employees at the height of the pandemic.
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Period dramas too often treat their subject with polite reverence and slavish accuracy. Tony McNamara’s new show, The Great, flips the genre on its head, telling the story of Russia’s great Empress with all the grotesque comedy the eighteenth-century Russian court deserves.
Jerry Stiller was one of those mensches from a bygone era who is almost hard to believe in now, as startling to encounter as a member of a species thought to be extinct walking into your living room.
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We still can’t believe the Academy, a notoriously hidebound institution, awarded four Oscars to Parasite, an explicitly anticapitalist movie. But we’ll take it.