Past 50 and unemployed for two years, formerly an acquisitions-and-mergers specialist, Maxime has been freeloading at his sister's for six months. Her boss Claire, a sexist, has a brilliant ten-year-old son, Jérémy, for whom Maxime is roped into being a full-time male nanny. And this is just the beginning of a progressive nightmare. But Jérémy has an idea...
Ultra-violent storytelling has never been my thing, but the issues with Scarface go beyond that. The film perpetuates harmful stereotypes about Latinx immigrants and uses gore and misogyny for shock value that never serves any purpose. The whole venture is frustratingly empty, and left me desiring something more.
'Bodies Bodies Bodies', the latest from indie powerhouse studio A24, is a great time. Full of dark comedy laughs, great performances, and genuine scares, it's a perfect addition to modern slasher classics.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.
Indie director, Niki Caro (known for 'Whale Rider') directs the live-action 'Mulan' and sets another example of strong females fighting against gender inequality.
There's no hiding the horrors of war in this inspiring story of survival
These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.
