Incluvie – Better diversity in movies.
Identity in film with Incluvie stamps, scores, reviews.

Incluvie – Better diversity in movies.
Explore identity in film with Incluvie stamps, scores, reviews, and insights.

trailer banner
A Streetcar Named Desire poster

A Streetcar Named Desire (1951)

A disturbed, aging Southern belle moves in with her sister for solace — but being face-to-face with her brutish brother-in-law accelerates her downward spiral.
- / 5
PopScore
Representation

Pictures and Videos


Incluvie Gala

Movie Information


A disturbed, aging Southern belle moves in with her sister for solace — but being face-to-face with her brutish brother-in-law accelerates her downward spiral.

Rating:
Genre:Drama, Thriller
Directed By:Elia Kazan
Written By:Tennessee Williams, Oscar Saul
In Theaters:9/19/1951
Box Office:$8,000,000
Runtime:122 minutes
Studio:Charles K. Feldman Group, Warner Bros. Pictures

Articles You May Like


'Mortal Kombat' Won't Win Any Awards, but it's a Bloody Good Time

In addition to the cast being delightfully diverse this time around, the film was just loosely-plotted and action-packed enough to keep a casual fan like myself entertained. While I do agree that the writing of Cole left much to be desired for an original character thrust into a preconceived universe, none of the characters seemed particularly fleshed out in terms of personality; however, I think that's to be expected when you're watching a film literally inspired by a video game.

Sydney Hayes

Amazon Prime's Pretty Lethal: Makes No Sense, Is No Fun

I write for a diversity-focused film review blog, so I’ll be honest: I really wanted to like Pretty Lethal. Starring Maddie Ziegler, Lana Condor, Iris Apatow, Avantika, and Millicent Simmonds, Amazon Prime’s new thriller seemed like it would be a girl power movie about dancers with a horror action twist. Sort of a Suspiria for teens. But with shallow and unlikeable characters, a confusing plot, an overreliance on violence, and cringey dialogue, any fun the movie started out with was quickly lost. What was left was a faint echo of greater horror movies about dancers made before. 

Jo Moses