Ship of Fools

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Fredrik Wenzel

MOVIE REVIEW
Triangle of Sadness (2022)

“Triangle of Sadness” continues writer-director Ruben Östlund’s preoccupation with the upending of hierarchical social constructs – gender, race, wealth, class, chain of command etc. – in the face of disasters natural or manmade. It’s certainly the kind of stuff that plays well at festivals, as evidenced by Cannes twice bestowing on him the Palme d’or. But does anyone honestly remember what happens in “The Square,” which won him his first in 2017, without looking up the plot? “Triangle,” Mr. Ostlund’s second Palme d’or winner, has a wild ending that feeds right into the rush of the festival setting; the problem lies in the uneven two and a half hours it takes to get there.

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True Bromance

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DVV Entertainment

MOVIE REVIEW
RRR (2022)

Gatekeeping is and has been a serious problem plaguing international film culture. Even those most deeply immersed are often blissfully ignorant of this fact. A tiny, overwhelmingly white group of tastemakers ­­– programmers, critics, editors, distributors – essentially dictate what is fit for Western consumption. For the past year, nary a week has gone by without at least one new Indian release surfacing at multiplexes across the U.S. thanks to the pandemic-related short supply of Hollywood products. Yet major outlets and critics have deemed these films unworthy of any attention. They would of course never do this with a French film, even one without stars or festival credentials. “RRR,” a Telugu-language Indian film which has so far grossed in excess of $10 million in the U.S. – more than four times what “Drive My Car” made in its theatrical run – did not land a review in The New York Times until 12 days after opening, yet that was better than what most films from that country could get.

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When the Saints Go Marching In

Jazz-fest-a-new-orleans-story-movie-review-preservation-hall-jazz-band
The Kennedy/Marshall Company/Sony Pictures Classics

MOVIE REVIEW
Jazz Fest: A New Orleans Story (2022)

In a way, “Jazz Fest: A New Orleans Story” feels like “Summer of Soul ( . . . Or, When the Revolution Could Not Be Televised)” with melanin vastly depleted. Directors Ryan Suffern and Frank Marshall seem oblivious at best, ignorant at worst, glossing over glaring questions so as to not hold anyone accountable for apparent inequities on display, making the proceedings as pleasant and inoffensive as possible to make nice with white upper-middle-class boomers who presumably make up their target audience.

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A Laughing Stock

Diamond-hands-the-legend-of-wall-street-bets-movie-review
Diamond Hands: The Legend of WallStreetBets

MOVIE REVIEW
Diamond Hands: The Legend of WallStreetBets (2022)

The documentary “Diamond Hands: The Legend of WallStreetBets” recounts how, for one brief moment, unsophisticated investors posting on Reddit beat Wall Street at its own game only to find out that game is indeed rigged in Wall Street’s favor. The entire saga prompted House Financial Services Committee hearings in Washington.

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Game Boy

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Paramount Pictures and Sega of America

MOVIE REVIEW
Sonic the Hedgehog 2 (2022)

It’s easy to get cynical about “Sonic the Hedgehog 2,” sequel to a live-action movie based on a Sega video game character (voiced by Ben Schwartz) that travels at supersonic speeds. You may recall the original’s disastrous, universally loathed first trailer, which prompted the studio to postpone the release many months to overhaul the CGI, finally delivering it just before the global pandemic hit in 2020. Yet it’s already getting the sequel treatment, and ahead of 2019’s “Detective Pikachu,” the live-action movie based on a more contemporary Nintendo video game character.

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Final Frontier

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Sundance Institute

MOVIE REVIEW
The Territory (2022)

The Uru-eu-wau-wau people, indigenous to Brazil’s rainforest, have seen their land and their population decimated since the 1980s when miners made first contact in the region. Now farmers brazenly show up with chainsaws and tractors to engage in a free-for-all land grab with no governmental oversight or interference, and they are not above resorting to violence and even murder. Worse, far-right politicians such as President Jair Bolsonaro run on platforms promising a legal path to the encroachment. This fight between the Uru-eu-wau-wau and intruding farmers is the subject of “The Territory,” 2022 Sundance winner of the Audience Award for World Cinema Documentary and Special Jury Award for Documentary Craft.

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Breaking Awaits

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Beth Garrabrant/Sundance Institute

MOVIE REVIEW
When You Finish Saving the World (2022)

With “When You Finish Saving the World,” it feels as though actor-turned-filmmaker Jesse Eisenberg has created what seems like an entire universe populated with Mark Zuckerbergs – at least his own take on the tech titan memorialized for posterity in “The Social Network.”

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What Ever Happened to Baby Ben?

Resurrection-movie-review-rebecca-hall
Wyatt Garfield/Sundance Institute

MOVIE REVIEW
Resurrection (2022)

At first glance, “Resurrection” looks to be a thriller about a woman confronting the reappearance of her former abuser. The film calls her sanity into question in a misogynistic manner, then boasts a conceited genre-shifting climax that is more noxious than clever. Following “Here Before,” “Encounter,” “False Positive” et al., this gaslighting-as-narrative-device trope is now a very troublesome trend.

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Doing the Right Thing

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Courtesy of Sundance Institute

MOVIE REVIEW
Emergency (2022)

“Emergency” is one of those one-crazy-night movies (“Harold and Kumar Go to White Castle,” “Superbad,” “Dazed and Confused” et al.), about two college kids attempting to make history as the first Black students ever to complete a tour of every Greek party on campus in one evening – but the plan derails with their discovery of an unknown white girl passed out in their living room. They try to do the right thing and get her help, mindful that they are risking their lives because of the optics – strangers presume their guilt in this scenario based on skin color. Indeed, this well-trodden trope takes on a sense of somberness and urgency in the age of Black Lives Matter.

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I'm Like a Bird

Hatching-movie-review-hanna-bergholm-siiri-solalinna
IFC Midnight

MOVIE REVIEW
Hatching (2022)

“Hatching” functions like the hybrid of a dark fairy tale and an adolescent horror. It’s utterly implausible, yet it isn’t explicitly sci-fi or supernatural. It falls into the body horror subgenre somewhat, but it’s more gross than it is scary.

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