‘Shaft’ (2019): The Father-Son Comedy That Cops Out
The 'Shaft' remake fails to capture Blaxpoitation's rebellious spirit.

South Korea, 1998: While the country moves closer towards democracy, Young-oak remains at odds with his female-connotated name while attending a boy's school where the air is thick with testosterone. The young man is struggling to fit in and find a new name among corrupt teachers and the teenagers' violent power games, which are as subtle as they are extreme. Behind his mother Jeong-sun's seemingly unflappable exterior, a past long repressed is reemerging, which she is reluctant to face. Yet confrontation is unavoidable – and it leads back to the national tragedy surrounding the Jeju Uprising of April 3rd, 1948.
The 'Shaft' remake fails to capture Blaxpoitation's rebellious spirit.
This film’s ambition is betrayed by its lack of substance.
A Christmas movie that is not about a middle-class, straight relationship but centers on a lesbian couple.
Upon first watch, Buddy feels like it should have been aired on Adult Swim at four in the morning.
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.
From its visually stunning opening credits, which show women dancing through a forest to musical rhythms that sound almost primal, to its quiet, heartbreaking final frame, Mona Fastvold’s historical rendering of the Shaker religious movement is an experience that will stay with me for a long time.