Set during the Arab-Israeli war of 1967, this epic drama is both the personal story of a middle-class Bahraini family and an account of the hopes and faith the Arab world had in Jamal Abdul Nasser as its leader. Intimately told, it skillfully interweaves the personal and the general to reveal a society built on male domination and female sacrifice, as women attempt to enjoy freedom of choice.
As an extremely avid fan of DC’s animation, I’ve become familiar with the way the studio uses Batman as a bit of a Trojan Horse to introduce some of their lesser known characters.
‘Killers of the Flower Moon’ is preoccupied with plot and not on the greater struggle of the Osage.
Evan Goldman, a child of divorced parents, is planning a memorable bar mitzvah for his 13th birthday. However, middle school has a few obstacles along the way.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.
The Fog follows more of a 1950s creature feature plot than a late-70s slasher with three legendary scream queens.
Slumber Party Massacre is a gory film with just enough commentary on sexist excuses, the validity of women's voices, and the inherent feminism of the slasher.
