
Southpaw movie review: punch drunk and disorderly
Clichéd, obvious, and tired. We’ve seen this story so many times before, but rarely with such a lack of appreciation for just how unheroic its “hero” is.

Clichéd, obvious, and tired. We’ve seen this story so many times before, but rarely with such a lack of appreciation for just how unheroic its “hero” is.

Though the subjects of the film are men in a male-dominated field, the filmmakers include interviews with female authorities to lend us historical context.

A brilliant, hilarious, exhilarating look at the Gore Vidal v. William F. Buckley paradigm-busting 1968 debates that changed TV journalism for the worse.

Exhibit of playful, experimental architecture, because why not?

The most significant female character here is the male protagonist’s girlfriend, who “appears” only as a voice on the phone in a faraway city.

A leisurely, slightly absurd drive through 20something ennui that is as maddeningly diffuse as its protagonist’s state of mind.

Sand sculptor working along the beach on the Southbank of the Thames.

Women are necessary and present only for how the male protagonist feels about them, and how these feelings motivate him to do things for himself.

It looks lovely and Ian McKellen is amazing, of course, but it’s not very Holmesian. I suspect Holmes himself would snort in derision at its sentimentality.

“Jokey” adolescent misogyny and a “she’s just the girlfriend” negatively impact the horror genre’s typically fairly good representation of women.