Widows (2018)

Steve McQueen knows how to make an intense movie. Heist movies, by their very nature, are intense, but McQueen takes it to another level. Hans Zimmer's score as well as the moments of tense silence contribute to the mood. There are some gorgeous tracking shots. And Gillian Flynn of Gone Girl fame writes an engaging screenplay full of twists, grit and excitement.The plot is complex, intertwining race, power, money and gender roles. And the cast is all phenomenal.  Viola Davis is a badass.

Black Panther (2018)

This is a monumental movie. There are so many things this movie did right thanks to a phenomenal who's who cast, Kendrick Lamar on the soundtrack, amazing production and costume and makeup design, and a brilliant Ryan Coogler at the helm (his signature long take, one shot is the ultra kinetic fight scene in Busan).

Hollywood finally did something right. A black superhero is not insignificant. Representation on screen is so important. It's not just a black superhero, it's strong and fierce black women warriors, it's a black scientist, a black sovereign, proud and successful black people. You need to be able to see yourself on screen in positions of respect to learn to respect yourself. And Black Panther has proved again that people of all colors are willing to pay big bucks for diversity. Hollywood has never known what the people wanted. Let this be a lesson.

This is the best Marvel movie, by far--it plays more cool 007 than Marvel. It is certainly helped by the lack of Avengers. Black Panther can hold his own. The content of the movie is much heavier, more morally complex, and more relevant (maybe only matched by X-Men, but certainly not the other Avengers). The central tension in the film is Wakanda's longstanding policy of isolationism. Wakanda is a fictional black Utopia. The way I see it, it's not just a black version of Utopia, rather Utopia is black. Utopia is a land untouched by the white colonizer. Could you blame Wakanda for not wanting any part of the ills the rest of the world has wrought? Well, if Wakanda was to open up, what form would that take? How would Wakanda react to the plight of black people around the world? There is the more militant Malcolm-ish path and the more peaceful Martin-ish path. Though Ta-Nehisi Coates had no part in the movie, I can't help but think his comic had influence on this central theme of the movie. The morally complex Killmonger (played by an excellent Michael B. Jordan), is a somewhat sympathetic villain. He is a fully developed character. His rough childhood influences his motivations to support the oppressed. But his experience in the US military influences his motivations to conquer.

My lone criticism is I think there was an opportunity for the female characters to take center stage. Yes, they are in prominent roles, but there is an opportunity towards the end that the lead females deny themselves. It is ostensibly for other reasons, but there is an underlying gender implication. There was a particularly viable path given Shuri's legitimate blood claim to the throne.

I know there is more I wanted to say. I wish I had went straight to writing after I saw the movie but...life gets in the way. #wakandaforever

Get Out (2017)

Jordan Peele, in his first solo project post-Key and Peele, holds up a mirror to liberal, middle class, suburban white society. Many reviewers have praised the film for capturing the modern zeitgeist of today, but they miss the point. And that is this: sixty years ago, Martin Luther King was saying the same thing (that the problem was and is moderate whites), and still the same holds true in 2017. Liberals may pat themselves on the back for electing Obama, but how much progress have we really made? Peele is simultaneously funny, scary, stylish, entertaining, clever and incisive. He astutely recognizes that horror is the perfect genre to represent the African-American experience. I don't typically watch horror movies, but this one is worth it. 

Sicario (2015)

This is a vivid portrayal of America's War on Drugs.  It is dark, disturbing, and, dare I say, hopeless.  When the FBI boss asks "Do you get the sense we're winning?" you understand the toll this War has taken on the country and its people.  This movie gives the kind of thrill that only the barren desert of the American southwest can give you.  The empty scenery isn't flashy.  It is a wasteland that inspires fear.  The masterful Roger Deakins frames some incredibly stunning shots. It kind of reminded me of Prisoners, another film worked on by Deakins.  It featured a different kind of darkness but some similar shots.

There are some excellent performances as well.  I think Benicio del Toro is exquisitely creepy and sufficiently mysterious.  In most scenes, he lurks in the background calm and cool.  But when it is his time to shine, he shows his full depth.  Emily Blunt, too, is great. I appreciate that the role of the FBI agent was cast as a woman, not conforming to the gender stereotype of men with guns.