dir: Tate Taylor
Yeah, yeah. I know. It can’t be good, can it?
It’s so obvious in its pandering for Oscars. It’s so worthy. It reeks of Oprah, and it’s all so, so goddamn earnest.
What if I told you that it’s actually not that a bad film? I think you’d be unpleasantly surprised. And even if the spirit of Hattie McDaniel hovers over the movie, cursing and moaning in contempt, it’s not entirely without merit.
Naturally, I’m not the intended audience, though I’m the right ‘colour’. White, American middle-aged, middle-class women are clearly the key demographic that made this flick such a success. It has dominated the US box office for the last few weeks like it’s one of the Transformers movies. Of course, some of the characters are less animated than the robots, but other than that there is little they share in common.
Apart from being big, stonking successes, that is. Of course, one is slightly less annoying and self-righteous than the other. And the other doesn’t have robots.
It’s set in the early 60s, in Mississippi. Guess what and who it’s about. Go on, I dare you, I double dare you, I triple dare you.
Yes, it’s about the Poles who fled the Nazis and the Soviets, and who emigrated to the States, and how they were oppressed and persecuted by people who sought to make them the butt of every lazy joke.