Not exact matches
As we humans move along in the concept
of time,
eras and lives — we tend to romanticize
past decades by literature,
movies and modern interpretations
of past clothes and trends.
In Lee's Bamboozled, he's invoked (alongside many other silent and early - sound -
era performers) as a grotesque specter
of racist Hollywood representation — the ghost
of minstrelsy
past — but writers like Mel Watkins and Champ Clark have complicated the issue by suggesting that there was an element
of subversion in Perry's subservience — that the shiftless, feckless caricature he inhabited in so many
movies was not a capitulation to the viewership (or the filmmakers) but a bold form
of ethnic masquerade.
Save for his two Hellboy
movies (among the most irreverent and entertaining comic book films
of the modern
era), his more straightforward genre fare — Mimic, Pacific Rim, the ripe gothic melodrama
of Crimson Peak — are pretty anaemic once you get
past the beautiful production design.
Hoot isn't really trying to recapture a sense
of nostalgia for these sorts
of vacuous, sometimes - preachy little films, but it does appear to be made by people that haven't really matured
past that
era in terms
of what they think
of when they conceive
of movies aimed at young adults.
None
of the
movie should feel like a revelation to anyone with knowledge
of America's tainted
past; however, the no frills honesty with which McQueen approaches his subject seems the only proper approach to this sad
era of history.
Farewell My Concubine may have been better received, but the Chinese director's follow - up is the more ravishing
movie; set largely in 1920s Shanghai, it doesn't evoke a
past era so much as a universe
of indulgences, temptations, and sumptuous textures lost to time.
Fifty Shades
movies have been a staple for the
past few years, but we're approaching the end
of an
era.
The
movie included several hits from the 80s, as director James Gunn had earlier pointed out in an interview that he needed the old, forgotten classics
of the
past in the film, as Chris Pratt's character, Peter Quill, belonged to the same
era.