There is a strange sense in modern cinema that to be avant-garde means to be vague, whereas pop entertainment wears its idealisms or opinions on its sleeve. A look at this year’s offerings offers a startling set of comparisons to make this point. Early in the year the surprise box office hit Get Out offered a vicious B-movie critique of race relations in contemporary America, while the arthouse darling It Comes at Night was a somewhat sluggish bore about people in the woods, trapped in some vague post-apocalyptic future without much of a point (or coherent plot). Even Ridley Scott’s latest rehash of the Alien franchise, Alien: Covenant, had more to say about the rise of Fascism in the modern world than anything else released in the season. [Read more…]