Tag: Kentucker Audley

REVIEW: She Dies Tomorrow [2020]

Jared Mobarak

I want to be useful in death. Do you feel that? The despair in and anxiety for a future as uncertain as it has ever been with civil unrest, genocide, climate disasters, global pandemics, and the ability to inject each of those horrors into our veins via technological progress that’s systematically hijacked by propagandists, charlatans, and malicious operators with no ambition other than sowing animosity and confusion? The futility in a present torn asunder by rich white men screaming at each other across a political divide while leveraging the lives…

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REVIEW: Sun Don’t Shine [2013]

Jared Mobarak

We’ve got to take a route that don’t make sense. This is what it’s like to be in over your head. The incessant talking to distract from what you’ve done and are doing. The rising frustrations as you try to reconcile your actions, justifying how you got here and where you must still go. You think love is enough—that a desire to protect someone might cleanse your soul of what that protection entails—but it will ultimately become another excuse to keep you traveling towards a conclusion without any escape. Maybe…

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REVIEW: Felt [2015]

Jared Mobarak

“I’m never safe” Today’s sexual climate needs a film like Felt to turn a mirror back. Whether it’s the long-hushed Quaalude-rape escapades of Bill Cosby finally coming to light or recent allegations pointed towards infamous party-boy and man-of-bad-decisions Patrick Kane, thinking the public can ignore society’s pervasive patriarchy and victim-blaming is dying. I won’t say it’s dead since who knows if that day will ever come. But sexual abuse is heading into the mainstream media to empower prey in seeking justice to ensure no one else gets hurt as well…

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REVIEW: Ain’t Them Bodies Saints [2013]

Jared Mobarak

“Everyday I wake up thinking this is the day I’ll see you” Reading how writer/director David Lowery set out to make an action film with Ain’t Them Bodies Saints only increased my appreciation for what he actually created. Trying to move away from what he calls the “nearly silent pastoral portrait” constructed with his previous work, he couldn’t help gravitating back towards that same territory as soon as the would-be thrills and excitement were to begin with his anti-hero escaping jail. Those aspects do still exist within this 1970s-set Meridian,…

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