None of the reviews here appear to assess the film's DEI credentials, which is an appalling omission. It's almost as if they view it as a mere film, rather than a Representation of Society through which We See Ourselves (thanks Rachel).
It is obvious that Alex Garland has either embraced DEI with passion or decided to tick all the boxes to ensure that the film is made. The four protagonists in the car comprise two females (one Power Lady), one Latine (no, not a type of coffee) and a black. For further DEI credits this later changes to Power Lady, Latine, black and Asian - a perfect score. Power Lady is So Important she is perpetually stoic, mostly unpleasant and refuses to say please or thank you. She smiles once (by mistake) during the entire film and has a personality as likeable as Josef Stalin. Latine and , surprisingly, Asian spend much of their screen time sobbing, screaming and showing how emotional men are. Latine also drinks heavily, indicating that - unlike Power Lady - he is a coward who need alcohol for courage. The middle-class middle-aged white men are confined to Evil President (the President is usually played by a woman in modern Hollywood - but not when Evil) and gun-totting blood thirsty lunatics. It appears that under the skin of every white male accountant there is a gun-blasting bozo who thirsts only for torture and death. Consider that the next time you annoy your accountant.
In the final scene, we add in an Anglo-Japanese anchor woman (although that appearance is easy to understand, given the director's personal life) and a Bass Ass black female officer. Power Lady loses her sang-froid to allow the other female protagonist step into her shoes - the tired old lioness makes way for her young hungry successor.
So the DEI score is almost perfect, and we can be assured that the film's Oscar in the DEI category is already in the post.
Difficult as it may be, if for a brief moment we ignore its Representation of Society we can see a close similarity to Coppola's Apocalypse Now - journey by a small number of people in a small vehicle during war-time through an eerie desolate landscape, with various unrelated episodes along the way; sky filled with swooping helicopters accompanied by booming music; and, of , course, lunatic white man at the end of the trip who must be put down. Of the two, Apocalypse Now is much better - especially the crazy scenes in the jungle with the Bunny go-go dancers. Not sure they would appear again if the film was remade by modern Hollywood, tho'.
It is obvious that Alex Garland has either embraced DEI with passion or decided to tick all the boxes to ensure that the film is made. The four protagonists in the car comprise two females (one Power Lady), one Latine (no, not a type of coffee) and a black. For further DEI credits this later changes to Power Lady, Latine, black and Asian - a perfect score. Power Lady is So Important she is perpetually stoic, mostly unpleasant and refuses to say please or thank you. She smiles once (by mistake) during the entire film and has a personality as likeable as Josef Stalin. Latine and , surprisingly, Asian spend much of their screen time sobbing, screaming and showing how emotional men are. Latine also drinks heavily, indicating that - unlike Power Lady - he is a coward who need alcohol for courage. The middle-class middle-aged white men are confined to Evil President (the President is usually played by a woman in modern Hollywood - but not when Evil) and gun-totting blood thirsty lunatics. It appears that under the skin of every white male accountant there is a gun-blasting bozo who thirsts only for torture and death. Consider that the next time you annoy your accountant.
In the final scene, we add in an Anglo-Japanese anchor woman (although that appearance is easy to understand, given the director's personal life) and a Bass Ass black female officer. Power Lady loses her sang-froid to allow the other female protagonist step into her shoes - the tired old lioness makes way for her young hungry successor.
So the DEI score is almost perfect, and we can be assured that the film's Oscar in the DEI category is already in the post.
Difficult as it may be, if for a brief moment we ignore its Representation of Society we can see a close similarity to Coppola's Apocalypse Now - journey by a small number of people in a small vehicle during war-time through an eerie desolate landscape, with various unrelated episodes along the way; sky filled with swooping helicopters accompanied by booming music; and, of , course, lunatic white man at the end of the trip who must be put down. Of the two, Apocalypse Now is much better - especially the crazy scenes in the jungle with the Bunny go-go dancers. Not sure they would appear again if the film was remade by modern Hollywood, tho'.
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