As a White Dude with a full deck of privilege and a shitload of unlearning to do when it comes to an effort at anti-racism, I acknowledge that there’s always going to be imperfection, at best, in my understanding of the Black Experience. Too many people like me use that as an excuse to not even try, of course, preferring the comfort of a bubble in which ignoring racism is hardly ever recognized in and of itself as a racist act. As a White Dude, part of me resides inextricably in this bubble regardless of my physical location. There’s quite an echo in here. And while I do recognize that ignoring racism is itself a contribution to racism — of course it is — I’m still undoubtedly one of those unthinking contributors. And admitting this puts me no closer to our aforementioned understanding. Nine out of ten attempts to place myself outside of the bubble are too weak to even perforate it, and the tenth is a noble failure.
Amongst those measures of not-enough is the discovery, experience, discussion and championing of Black Art. This is too easy and not impactful enough to be considered “putting in the work” for us White Dudes, or to count as allyship in any meaningful sense. So I’m gonna sound really, really desperate to make a grand point here when I turn heel to assert that it’s also not nothing, because not nothing is hardly the bar we should be striving to clear. But when discovering, experiencing, discussing and championing something as vital as Mangrove, even this most passive engagement can result in challenging questions of the sort that are typically drowned out in the din of the benighted bubble.
What’s the worst thing that can happen in sports? That’s the question voiced by the title character as the curtain goes up on Molly’s Game, Aaron Sorkin’s directorial debut and latest produced screenplay since 2015’s 
The Black Stallion is very much a film of two halves. You could enter the film at the midpoint and still enjoy the back 50% as a self-contained story. Similarly, you could just watch the first chunk and then turn it off feeling surprisingly satisfied. Viewed as a whole, though, Stallion serves as a personality quiz centered around whichever half you ultimately prefer. Think Full Metal Jacket or King Kong, which not only bring characters through two vastly different settings but seemingly bring them through different genres of film as well. It’s possible to enjoy the whole film in each of these instances, but by design one segment probably connects with you more powerfully than the other.
Motion State Review 