![]() ![]() Assassination Nation is an exploitation thriller about teen girls, and Walsh’s review centered on similar issues of identity. Levinson’s previous film, 2018’s Assassination Nation, had received a scathing pan from Katie Walsh, who is white, female, and a freelancer for the L.A. ![]() “You can’t say that I brilliantly subverted this trope ’cause I’m Black, but I fell into this one because I’m a fucking man!”Īnd to top it all off, the review is paywalled!Īs with Marriage Story, it didn’t take long for viewers to make an autobiographical connection. “You can’t hang everything on identity,” he says. Finally, she suggests that Malcolm’s handling of his female protagonist is marked by the male gaze, a critique that inspires one of the film’s many, many monologues. Then she writes a positive review, but in terms he feels have more to do with signaling her own progressive politics than genuinely grappling with the work. First, she praises his film at its premiere, but only compares him to other Black directors. ![]() Times,” in the parlance of the script - whose every action inspires teeth-gnashing anguish in John David Washington’s Malcolm. She’s a film critic for the Los Angeles Times - “the white lady from the L.A. Malcolm and Marie may be the only two people who appear onscreen in Sam Levinson’s Malcolm & Marie, but an unseen third character looms nearly as large. ![]() Zendaya and John David Washington in Malcolm & Marie. ![]()
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