In Review: Little Woods

A stark but auspicious feature debut arrives with Nia DaCosta’s Little Woods, a tale of two sisters stuck at the bottom on the economic food chain. In the depressed Dakotan landscape, DaCosta finds a spiritual abyss for abandoned souls, with its two central women risking the law to improve their lives by marginal degrees. The film is spare, its narrative stripped to its very dry bones in quintessentially American piece of traditional storytelling. But the film’s success lies in how underneath the oppressive coldness it reveals in our society, burns a will to prevail that spites our limitations.


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In Review: Mamma Mia! Here We Go Again

2008’s Mamma Mia! was somewhat defiant in its shrugging off of the demands of self-serious audiences, presenting an escape from the evils of mundanity, logic, and pretension. It wasn’t something to wrap your head around, for in its haphazard lunacy it delivered tenfold precisely the ecstasy that its audience requested. Now ten years later, such escapism isn’t a mere trifle but a necessary antidote to ensure our sanity and survival. Mamma Mia! Here We Go Again, its slightly more sedated sequel, is like a soda administered during a diabetic collapse.


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