The LEGO Movie 2: The Second Part
The Walking Dead
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All Critics (34)
| Top Critics (13)
| Fresh (30)
| Rotten (4)
This is bound to go down as one of the all-time-great San Francisco films.
Shot in a woozy, unreal, and dryly comedic style that splits the difference between Spike Jonze and Spike Lee, The Last Black Man in San Francisco slows the world down just enough for you to feel it changing.
Talbot is a striking filmmaker, giving his film both a lived-in authenticity - the location work is evocative, and he's filled the screen with oddball locals - and a fairy-tale hermeticism.
Talbot, Fails and their collaborators have given the programmers, and us, an undeniable gem. It plays like a gauntlet that's been thrown down. But it feels like a gift.
A shot of a lonely man rowing through choppy waters under the Golden Gate Bridge sends things into the realm of purest urban poetry.
The Last Black Man in San Francisco remains consistently gorgeous and unpredictable.
What I've seen, and what I'm pretty sure will come to other viewers, is a film whose brightest moments do the unforgiving work of carrying its weakest elements.
The Last Black Man in San Francisco is an ambitious, jubilant work that portrays the brutal community disintegration caused by gentrification.
The claim for the right to a territory is addressed in this microuniverse giving it a concrete face and thus turning it into an intimate, personal, and extremely endearing fight. [Full Review in Spanish]
This is the announcement of a visually talented artist (Talbot), a visionary DP (Newport-Berra), and two incredible actors (Fails and Majors), but a very clunky script.
The Last Black Man is clearly based on Fails' own biography, but the beauty of the film is that it unspools its vision of the city like a nostalgic musing on a dream half-forgotten.
Told with great care, tenderness and eye-popping originality, "The Last Black Man in San Francisco" puts a face on the people that have been left behind by supposed progress.
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