Women Are Just Convenient Puzzle Pieces in “Animals”
A deer caught in the headlights is the perfect metaphor for Animals.

Half of Americans believe they haven't been told the whole story about 9/11. We've all heard the conspiracy theories, but why do they continue to grip some people so tightly? In this thought-provoking exploration of one of America's greatest tragedies, victims' families, a senior politician, and intelligence agency insiders discuss their belief that there's much more to this story than we know.
A deer caught in the headlights is the perfect metaphor for Animals.
This reboot of The Wonder Years is told from the lens of a Black man.
We’ve always known that Edgar Wright is a mixologist when it comes to blending sound, light, colour, and texture. This is especially true in the first act of the film. In fact, all of my positive feedback is directed exclusively at the first act of this film.
Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.
A young woman finds herself trapped in a crossfire of awkwardness during a nightmarish dinner party with her boyfriend's dysfunctional family.