恋のメキシカンロック 恋と夢と冒険 

Mark Anthony Green was unable to connect all of the pieces in his debut feature film, leaving Opus as a middling entry in an already oversaturated genre.

Dead Poets Society relies on patriarchal tropes such as overbearing fathers, contrived brotherhood, and faux-individuality in order to portray its straight white male characters as oppressed.

Hustlers was meant to be a film about female empowerment. And it was, to a certain extent. I expected and wanted this to be a kickass and complex film of sexy women who use their confidence, skills, and wits towards a brilliant plan to get revenge on the Wall Street guys who wronged them.

"WHAT ARE YOU WILLING TO SACRIFICE?!!!!" "EVERYTHING!!!!!" This is but one of a multitude of highly emphatic questions, and subsequent answers, being asked in the newest feature film from one of the current masters of horror, Jordan Peele ("Get Out", "Us" and "Nope"). I must give Peele credit in that he continues to push the boundaries of specific genres and their associated tropes in order to provide what ends up amounting to subtly then jarringly intense, yet still character and story-driven, cinema that speaks more to indie stylings than mainstream.

Another story focuses on the bond between a young man and a shelter dog in this Netflix drama film.