The LEGO Movie 2: The Second Part
The Walking Dead
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Tyrel uses its seemingly innocuous setup to take an admirably uncomfortable -- albeit occasionally somewhat diffuse -- look at modern American race relations.
All Critics (46)
| Top Critics (16)
| Fresh (29)
| Rotten (17)
"Tyrel" is a lab experiment with no insight into feelings of otherness beyond the blinding light directed at its wigged-out subject.
Silva's most political work yet--though it is sly and subtle, the intention is palpable, the emotions elicited all too real, and ultimately, "Tyrel" proves to be a fascinating entry in his body of work.
Silva makes a chamber orchestra of unconscious prejudice and passive-aggression out of his all-bro ensemble, with Mitchell's performance as the violin solo at the center of it that grows from a tentative tremolo to lonesome wail.
A tense social satire that speaks to its moment even if it ends with a fizzle instead of the cathartic gut-punch you're waiting for.
I've seen far worse movies this year, but I've not seen one that left me feeling as indifferent and bored as this one.
Tyrel is essentially Microaggressions: The Movie.
Tyrel is a strange, uncomfortable, but poignantly accurate portrayal of subtle racism in America. Racists that think they are cool, but when folks starting burning portraits of Jesus and calling women 'black hoes" - you know it's time to bounce.
Tyrel breaks at the weight of its own ambition, feeling like an undergraduate exercise in tension. Sadly, even that tension is wasted.
This quietly perceptive low-budget drama effectively tackles contemporary race relations with subtle ambiguity rather than raucous provocation.
As with many of Silva's previous films, Tyrel is so personal in its execution that it feels like eavesdropping.
Tyrel is Get Out if you removed the horror, most of the comedy, and the point.
Silva and the cast adeptly build a sense that something is badly wrong here.
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