A very obvious film, but a cute one. If you try to ignore the racism stuff, close one eye and squint a little, it sorta looks look a buddy cop film; just my advice to anyone who can’t stomach it for one reason or another. I think the duo’s performances make the film rise a bit above the mediocre craft.
Essentially, this is what you get when you average the taste of 7902 Academy voters. Let’s start a petition to make the Academy consist of just Paul Thomas Anderson, David Lynch, Agnès Varda, Béla Tarr (apparently he was invited a year or two ago), and Spike Lee.
A little meta-commentary (from me of course): I’ve seen some people label African Americans who worked on this primarily white production as “token black people.” I think this classification is a bit dangerous—it devalues the work of those “tokens” on the production. “Tokenism” in regards to the content of a screenplay, for example when a writer puts one funny black guy in a film filled with white characters, is a valid discussion, but I’d caution against using it so easily with real world people. Octavia Spencer, an executive producer of Green Book, could have been super passionate about this project and had a significant hand in its completion—I don’t know. But I don’t want to assume she’s just there for show.
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