'How Power Looks' — MiamisFF Review
Praising Black representation and condemning the power structures that suppress it, a mother delivers an impassioned speech to her distant son.

Pat Pemberton is a brilliant athlete, except when her domineering fiancé is around. The ladies golf championship is in her reach until she gets flustered by his presence at the final holes. He wants them to get married and forget the whole thing, but she cannot give up on herself that easily. She enlists the help of Mike Conovan, a slightly shady sports promoter. Together they face mobsters, a jealous boxer, and a growing mutual attraction.
Praising Black representation and condemning the power structures that suppress it, a mother delivers an impassioned speech to her distant son.
Written and directed by Rian Johnson (Looper, Star Wars Episode VIII: The Last Jedi), Knives Out was one of the most clever and intricately crafted films of 2019.
The Bluff unravels its mystery slowly, opening on the capture of a ship captain named Bodden (Ismael Cruz Córdova) and the swift execution of his entire crew. Then, viewers are treated to a tranquil British settlement in the Cayman Islands in the 1850s, where a mother bakes a coconut birthday cake for her son in a house suspiciously rigged with makeshift tripwires and burglar alarms. As it turns out, that mother is Priyanka Chopra’s quick witted and resourceful ex-pirate Mrs. Ercell Bodden, and her husband’s captors are on the way to the island to hunt her down for abandoning them and stealing their loot. The pirates of the Libertas land on the beaches of Cayman Brac, and the scenes that follow show a Viking-esque slaughter of half the island.
“And I think to myself….what a wonderful world”. Louis Armstrong sang about this notion via his classic 1967 song, an ode to witnessing elements of our life that should be but some reminders of exactly what that concluding line of each verse indicates. Now we see our contemporary realities and, just being honest, it makes a sentiment like this seem SO overtly far away….perhaps even impossible….to accept or believe could be. It sounds harsh, but again, so much of what is occurring speaks not to beauty, but bedlam.
'Legally Blonde' remains a standard of feminist filmmaking over two decades after its release, although its poor treatment of racial and sexual minorities make it a product of its time.