‘CODA’ Review: A Conceited Crowdpleaser Suppressing Its Deaf Voices

Author’s note: I am not deaf nor hard of hearing. That said, I also cannot help but find it a bit disheartening that many deaf critics are not also put front and center as this film continually makes waves during its awards season run right now unless their views of the film are uniformly positive.

To talk about CODA is to also cover one of the most important reasons why this movie has made waves: it features a primarily deaf cast playing deaf characters. It’s easy to see how this aspect has acquired the film a very favourable tide, but as much as this film has also grown on to become an audience favourite ever since it premiered at the Sundance Film Festival, I cannot find myself on board with that same wavelength. Which is disappointing to say, especially as this was a film that I had wanted to like on the count of how important it is to see the representation for deaf or hard of hearing people, yet maybe it’s the means of wanting to become an audience favourite that ultimately sets this film back.

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The Sisters Brothers Review: Fun Western That Doesn’t Quite Boast the Most of Its Talent

✯✯✯½

I’ve always found it difficult to get into the films of Jacques Audiard which is one among many reasons I was unsure of what to expect from The Sisters Brothers. But this being so different from his past films already had me wondering if this could be an instance where he would click with me, because his films have always remained distinctive for being so unflinching – if also quite emotionally hollow. So how exactly was this sort of style supposed to work not only for a western film in the English language, but also a dark comedy? I think it’d only be fair to say that maybe it opened my eyes to see Audiard’s sensibilities working better as Hollywood productions than they do outside, because The Sisters Brothers only ever made itself out to be an entertaining ride.

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Saint Laurent – Review

✯✯½

Yves Saint Laurent is a fascinating figure to study when looking into fashion history, yet the thought of a biopic about him running for two and a half hours always seemed like an intimidating one to myself. On one end it could have worked effectively as a psychological case study of what happens to his mind as a result of the newfound influence he had acquired, on another end it could have been an overlong display of pretty colour while offering so little refreshing on Yves Saint Laurent himself. Unfortunately, Bertrand Bonello’s biopic finds itself in the latter, a film whose potential is lost inside of its own bloated length in spire of pretty visuals which never come off as a surprise given its subject. Nevertheless this experience proves itself rewarding to some extent.

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