Critic Wesley Morris nods to The Blind Side, Crash, and The Help, but he concentrates, of course, on current contender Green Book and its Oscar-winning predecessor Driving Miss Daisy, as well as non-Oscar-contender The Upside. He points out that those films’ central (interracial) relationships are all based on employment " “pay-to-playmate transactions,” he calls them […]
SOURCE: ArtsJournal at 03:42PM on January 24, 2019