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Unlike Charles Graeber’s source nonfiction bestseller about Charles Cullen, there’s no irony intended in the title of the Tobias Lindholm’s film version of The Good Nurse. Cullen is likely the world’s most prolific serial killer (American exceptionalism at work once again)—his confessed-to death tally was 29, but the real number may be closer to 400—but the title here isn’t an ironic reference to either high-volume performance or any pretensions to mercy slayings. Instead, it unambiguously applies to Amy Laughren, a…
This is the kind of movie that causes strongly polarized reactions based on each viewer's capacity to tolerate/recognize/empathize with those on-screen. Some people just can't handle watching 20-/30-something white people undergo minor crises within a basically privileged framework, which is understandable. (That said, I'm not sure why someone with that mindset would ever go watch ANY NOAH BAUMBACH MOVIE and ask afterwards — as some guy did — " if it had any sort of larger social context… besides only…
Magic Mike XXL is a putatively "modest"/"small" film — $14.8 million budget, 28-day shooting schedule, a shambling road movie meant to showcase extended musical numbers and largely excising the first film's recessionary panic. (Business is discussed, specifically the hustle of running a small business, but it's not the dominant throughline motivating everything as in the first, a line of inquiry Soderbergh pursued in Erin Brockovich, Bubble and The Girlfriend Experience, in ways that increasingly played like a meta-text about his…