“她似乎很好，”伊曼尼（Jasmine Burke）在首次看到他们的新邻居时对她的丈夫Malik（Cory Hardrict）说。当凯伦（Taryn Manning.）安装一个新的安全摄像机直接在他们的家指出半开玩笑地指责套管她家的马利克。作为亚特兰大郊区高档社区的第一个黑色居民，他们不一定期待着红地毯 - 但他们都没有期待这种巨大的公开敌意。“等一下”中，现实中汇后伊曼尼问：“我们有一个名为白题为邻居......凯伦？”
And that, in essence, is the only card this film has up its sleeve: an over-the-top personification of a stereotype rooted in social injustice, which Daniels treats in a semi-comic manner that’s never especially funny (except, on occasion, unintentionally so). “Karen” plays out instead as a parade of clichés that escalate in terms of intensity but not tension. Karen reveals herself as an irredeemable racist the moment we meet her, and so there’s never any depth to her character or the slightest suggestion that Imani and Malik may be projecting.
尽管如此，很难想象任何超越这种鼻子材料的人。Perhaps the worst offender is a discussion between Karen and other attendees of her new neighbors’ housewarming party, in which she claims all lives matter, Black people pull the “race card” every time they mention slavery and anyone who doesn’t like it here can “go back” to Africa. That sequence is followed, less than 10 minutes later, by one in which she calls the police on three young Black men walking through the neighborhood. (For added narrative convenience, one of those officers is her equally bigoted brother.) That all of these things occur with alarming frequency is indisputable; that their depiction should be as blunt is questionable.
有时，感觉丹尼尔斯可能瞄准如此糟糕 - 它的良好和/或崇拜 - 经典状态，但综合组织如此直截了当地呈现，即“凯伦”也没有成功。摇摇欲坠的生产价值 - 突然切割，图像质量感觉比银屏更多的电视 - 不帮助，但主要的罪魁祸首是丹尼尔斯的痛苦毫无疑问的剧本。
Though the release of its trailer a few months back prompted immediate comparisons to Jordan Peele’s “Get Out” (none of them favorable), it’s the Peele-produced “Candyman” that feels like a more apt point of reference — if only because the two films are being released in consecutive weeks. Nia DaCosta’s transfixing update of the 1992 horror classic touches on such loaded topics as gentrification, police brutality and generational trauma with nuance and aplomb, all while being scary as hell. In that sense, it’s the anti-“Karen”: a film whose name you’ll want to repeat rather than forget.