Satire

“Sorry to Bother You” – Boots Riley’s Brilliant Fever Dream

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Boots Riley is the truth. His directorial debut, Sorry to Bother You, is one of the most bizarre cultural commentaries you will ever see. The targets of Riley’s critiques vary, from broad concepts like race relations and corporate greed, to more specific ideas like viral fame and code-switching. But the setup is simple: Cassius “Cash” … Read more

“Okja” Hurls Unwieldy Satire at Anyone in its Sights

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Like the past works of writer-director Bong Joon Ho (Snowpiercer, The Host), Okja isn’t so much an allegory as it is an outright morality tale. The Korean filmmaker seem intent on tackling each and every woe of modern society, from the danger of radioactive waste (and by extension, the short-sighted profit-seeking of big business) in … Read more

“A Clockwork Orange” and the Scary Defense of Free Will

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In A Clockwork Orange, Stanley Kubrick means to make you uncomfortable.  The magic of the film is that it can show terrible things and then making us care about the mind of the man responsible for them.  Kubrick accomplishes this titanic task through three main techniques, each of which will be detailed in this piece:  … Read more

“War Machine” is Imbalanced, Has Too Few Barbs

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The satire is the most fragile of all the genres.  Drama fails or succeeds on the strength of very definite qualities like story, character, and pathos.  Comedy has leeway with its execution on account of its casual tone, as even the blackest comedies have a jokey kernel.  Strict genre fare or action is even more … Read more

“Dr. Strangelove” and the Absurdity of the Politically Powerful

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A Year of Masterpieces: The Filmography of Stanley Kubrick Introduction Stanley Kubrick’s Dr. Strangelove, Or: How I Learned to Stop Worrying and Love the Bomb is a satirical masterpiece.  In this piece, we will discuss the germination of the great film and then detail how the director combines a serious camera (Part I), genuine but … Read more

Jordan Peele’s Horror Masterpiece “Get Out” Expertly Satirizes Suburban Racists

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Writer-director Jordan Peele’s Get Out is a potent and poignant allegory about modern race relations in suburban America.  It is constructed on the skeleton of a slow-burn horror-thriller, with some awkward comedy thrown in for good measure.  Satirical to its very core, Get Out ridicules the WASP-y “post-racism” of the middle-upper class, and suggests that despite protestations to the contrary, this racism is just as nefarious as blatant hatred.  Through a deft use of genre tropes, Peele develops this allegory to its full potency, and the audience reaps the rewards.  As the pieces fall into place, we are eating out of Peele’s hand at every turn and there is only one conclusion:  Get Out is a masterpiece, harshly satiric and thoroughly creepy.

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The Last Jedi Revealed – Level-Headed Reactions and Definitive Predictions

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In the biggest news since the last time the title of a Star Wars movie was revealed, the title of the next Star Wars movie has been revealed.  Disney’s Star Wars Episode VIII:  The Last Jedi – A Star Wars Story promises to be the next best film in the Star Wars saga for the three weeks after its December 15th release.  Me, personally, I love the new title.  But what can we predict now, 11 months before opening night, with nothing to go on but the title, a red outline, and the phrase, “the next chapter in the Skywalker saga”?  Basically everything.

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“The Lobster”: A Sardonic Defense of Romantic Choice

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The very best satire establishes absurdity as commonplace, and Greek director Yorgos Lanthimos’ first English-language feature film The Lobster is a fascinating example.  Winner of the Jury Prize at the 2015 Cannes Film Festival, this dark romantic comedy imagines a dystopia where single people are sent to a hotel and given 45 days to find a new partner.  Should they fail, they are transformed into an animal of their choosing and released into the wild.  Some attendees don’t wait that long, and escape into the bordering forest to live in a kind of fugitive singleness.  The Lobster viciously jests through this dichotomy, exploring the nature of relationships and how societal pressures can paradoxically be the cause of both settling and celibacy.

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