KRVS

Andrew Lapin

In Jexi, Adam DeVine's life partner calls him an idiot, a "little bitch," and many other, less printable things. The abuse is near-constant. The person heaping it on him is his phone.

Covering up a crime is hard work when you do everything half-assed. The Death of Dick Long, a gnarly new dark comedy about some misbehaving adult boys in Alabama, imagines what would happen if the dumbest people alive wound up with a dead body on their hands.

It is a truth universally acknowledged that the movie hustler must always take the young upstart under her wing. In Hustlers, that moment comes when Jennifer Lopez, lounging on a New York roof in an elaborate white G-string, spreads her luscious fur coat and wraps Constance Wu's fresh-faced stripper inside with her. It's a glittery gesture of sisterhood, bestowed by the biggest star in the world, working a profession long derided by larger society as immoral.

We are still figuring out how to make compelling films about 21st-century geopolitics. The stakes in this arena have never been higher, but they've also never been less visually exciting. Most unscrupulous maneuvers these days occur not in secret parking-structure meetings or hotel rooms, but behind computer screens, where the good people can frown while squinting at emails and .wav files.

There are precious few victories to be found in Give Me Liberty, and yet the film feels victorious all the same. This madcap day-in-the-life indie about a medical transport driver, shot in Milwaukee with a cast of almost entirely nonprofessionals, walks a fine line between exuberant comedy and stress-inducing nightmare, yet ultimately endorses the idea that surviving another day in America is enough to feel good about.

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