Susanne has to travel to Kenya as an EU representative in order to weigh up possible aid for a village near the Somali border that has been attacked by terrorists. While the bereaved hope for an equal cooperation with the EU, the appointment and the promises made by Susanne are business as usual. But she realizes too late the effects of her appearance with an armored convoy.
Treated like a granter of wishes for those earning out of retelling the same tragedy, Marilyn looks like she's caged in different stages of trauma for us to stare at, instead of someone we’ve finally allowed to rest in peace.
The film didn’t have to be as long as it is. It just dragged on and on with scenes that had no substance. Every so often we get an action scene, and even those isn’t that fun.
I hate the idea that animation’s for kids; just because it’s animated doesn’t mean that it’s some silly cartoon and shouldn’t be taken seriously.
It’s no wonder Peele won an academy Award for Best Original Screenplay. His script is layered with perspective and subtlety. Through a terrific vision, Peele creates the gift that keeps on giving. The clues and symbolic representations are aplenty, and as each viewing passes, you are destined to find something new. That’s a mark of great cinema.
While Peter’s heroics might have been a bit unrealistic at times due to his lack of experience, I will always support the civilian taking down the establishment.
There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.
