In a cramped theater, at the emotional climax of Lulu Wang’s (“Posthumous”) “The Farewell,” an entire row bursts into laughter. Those on the aisle and a family sitting below the main speaker join in, too. This was not the first moment in the film when the laughter of the audience was divided. It was as if the theater were a game of Battleship — the board scattered with red hits and white misses. That was the key to deciphering the uneven responses: the white misses.
Knightley carries the weight of the film.
Once the band settled in, their music pulled the audience along for a great ride.
With any dramatization of a real-life event, the question of exploitation arises.
The detached directing plays off the stripped and tender songs with potent results.
Every actor tries to showcase their chops, but the terrible script creates unbreakable barriers.
So why does a correlation exist between popular absurdist humor on the internet and bro-culture? Is there a female-centric equivalent to the man-child act?
The question that haunts Reverend Toller will haunt all those who watch “First Reformed”: “Can God forgive us for what we’ve done to this world?”
For people looking for a solid rom-com, “Crazy Rich Asians” delivers, not buckling under the pressure of a history of underrepresentation.
Given the constant turbulence in Detroit, I’ve always considered Chicago as the closest city to Ann Arbor, and the capital of the Midwest. Rather than venture east down I-94, my family always opted to go west a few extra hundred miles.
I familiarized myself with the Loop over Woodward Avenue and Chicago-style hot dogs over Coney Island depots in secret parts of D-Town. I could even trace a map of Grant Park on my palm to help locals navigate the 319 acres of urban greenery.