Blindspotting: The Code Switches Back

Lynn Lee on Blindspotting, new on Blu-Ray and DVD today

It must be something in the air.  Or water.  Or just our general 21st century American zeitgeist as we come to grips with how far we are from anything close to a “post-racial” dialogue.  Whatever it is, 2018 is turning out to be the year for movies about racial code switching.  It’s the common thread that links projects as disparate as the gonzo anti-capitalist satire of Sorry to Bother You, the stranger-than-fiction part-comedy, part-true crime thriller BlacKkKlansman, and the Black Lives Matter-inflected YA drama The Hate U Give.  At the heart of each film is a black protagonist who, having mastered the art of speaking “white,” ultimately discovers its limits as a means of challenging society’s white-dominated power structure.

Then there’s Blindspotting, which puts its own unique spin on these themes and turns the concept of code switching on its head.  The film presents a white guy, Miles (Rafael Casal), born and bred in Oakland, who raps, talks, and acts like a walking stereotype of the ’hood even as his best friend, Collin (Tony winner and now Spirit Award nominee Daveed Diggs), has to live with the real implications of being an actual black man with a criminal record.  Despite these tensions, the bond between Collin and Miles feels genuine, reflecting the real-life friendship between Diggs and Casal...

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Jason Gives Thanks

Team Experience members were invited to give thanks this week so you'll be hearing from a few of us. Here's Jason Adams... 

For all of the hairs on my head and the hours of sleep that I've lost in 2018 I do feel, just a little bit,  as if I've traded them in for a couple of worthy life lessons this year. Enough to make up for the state of the world? Not for all the hair and dreams that have ever been or ever will be. But I will say that feeling in a near constant state of emergency has made me a smidge bit of a better writer, and it's nudged me ever so gently towards getting some of my shit together. To paraphrase Ryan Gosling's schtick -- one small step for me, one giant leap (into the abyss) for mankind. Helluva trade. Here's some of the great stuff I'm thankful for the nudges from...

• Moviepass burned high and too too bright this year, echoing our migraines, but I'm thankful to the service at its height for letting me see Luca Guadagnino's Call Me By Your Name in the theater a personal record shattering 18 times - in a crazy world those six summer weeks learning about love and peaches with Oliver and Elio and Elio and Oliver were the only thing that made any sense to me. For a film so warm and sunny I'll weirdly forever associate it with walking through cold weather in Central Park to get to or from the Paris Theater, "Love My Way" by the Psychedelic Furs blasting in my ears. (I rounded up most of my writing on the film right at this link.) 

• Funny enough the end of 2018 belongs to Luca too, as the only music haunting my ear buds this Autumn has been Thom Yorke's by turns gorgeous, terrifying score for Suspiria. I'm thankful for that whole unholy beast of a film, bursting with ideas and emotions and Tildas...

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Top Ten: Ezra Miller Lewks

by Nathaniel R

Tilda & Ezra 7 years ago. He learned from a master

We have been greatly remiss in celebrating Ezra Miller's rising fashion-icon insanity. I am pleased in retrospect to have been one of the five people who saw and admired his debut performance in the disturbing art film Afterschool which made $3,911* at the box office in 2009 (*actual figure, not sarcasm). I vividly remember seeing it because when I left the theater, a friend who worked at the Nashville Film Festival ran up to tell me that Nicole Kidman & Keith Urban had attended the screening directly before mine. (A tragedy truly: we saw the same movie at the same festival on the same day but weren't in the same showing. ARGH!)

More than ever in 2018, Miller has proven that his casting as Tilda Swinton's son in his breakout picture, Lynne Ramsay's We Need to Talk About Kevin (2011) was more than a little prescient because he's following in Tilda's iconoclastic and androgynous footsteps in the department of causing stirs on the red carpet.

So herewith a top ten of Ezra fashion after the jump...  

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Lynn Gives Thanks

Team Experience members were invited to give thanks this week so you'll be hearing from a few of us. Here's Lynn Lee..

In many ways, 2018 – like the two preceding years, only even more so – has felt like a nauseating carnival ride that I, for one, would like to stop and get off.  But the one welcome constant was always having something genuinely engaging to watch and, in the best cases, elevate my feelings on the state of the world and humanity. 

In that spirit, here are some of the many things I’m thankful for:

• The electrifying last 15 minutes of Nanette, wherein Hannah Gadsby turned stand-up comedy into something else altogether – and left our collective jaw on the floor.

• Daveed Diggs – so good in Hamilton, even better in the riveting and underrated Blindspotting.

• The shimmer in Natalie Portman’s and Oscar Isaac’s eyes at the end of Annihilation, one of the most bonkers and most unexpectedly rewarding films of 2018...

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A rough weekend for Oscar hopefuls at the Box Office

by Nathaniel R

What did you see over the weekend? Though a lot of Oscar hopefuls struggled, this weekend was but the preamble to a big holiday weekend so this coming week will tell a much broader story of which films the public is responding too. More commentary after the jump...

Weekend Box Office  (Nov 16-18)
W I D E 800+ screens	PLATFORM / LIMITED excluding prev. wide
1 🔺   Fantastic Beasts 2 $62.1 on 4163 screens *NEW*	1 🔺 Boy Erased $1.3 on 409 screens (cum. $2.6) Podcast

2 Dr Seuss' The Grinch $38.5 on 4141 screens (cum. $126.9) Posterized	2🔺 Can You Ever Forgive Me $893k on 555 screens (cum. $5) Review, Podcast

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