But as “First Class” roars to its final climatic scene, it appeals to an insidious suspension of disbelief; the heroic mutants of America, bravely opposing bigotry and fear, are revealed as not so much a spectrum of humankind, but as Eagle Scouts from Mayfield. Thus, “First Class” proves itself not merely an incredible film, but an incredible work of American historical fiction. Here is a period piece for our postracial times — in the era of Ella Baker and the Rev. Dr. Martin Luther King Jr., the most powerful adversaries of spectacular apartheid are a team of enlightened white dudes. (…) When we left the theater, my son and I knew we had experienced the most thrilling movie of the summer. “First Class” is narratively lean, beautifully acted and, at all the right moments, visually stunning. But I had experienced something else. My son is 10 and a romantic, as all 10-year-olds surely have the right to be. How then do I speak to him of this world’s masterminds who render you a supporting actor in your own story? How do I speak of the Sentinels whose eyes melt history, until the world forgets that in 1962, the quintessential mutants of America were black?
Manohla Dargis closes an insightful, spirited and very correct review of Sex and the City 2 with this fitting observation:
Too bad the women weren’t guys and went to Las Vegas, where they could have indulged in the kind of critically sanctioned masculine political incorrectness that made “The Hangover” such a darling.
How can you not love this show?
From one of the best shows currently on the air.