Animal Farm: Viva la Dystopia
This incarnation of Animal Farm is filled with the generic plot points, immature humor, cardboard characters and visual flaws that you have come to know from today’s lesser children’s films.

Emile is a contract killer. A hired killer who travels by bicycle and who kills in exchange for a few tickets left in a small mailbox lost in the middle of the fields. This time, the man to be slaughtered is named Gaston Pouget and lives at 7 rue des Peupliers, which is a shed on the edge of a highway. Only here, when arriving on the scene, Emile is surprised by a birthday in honor of Gaston who should arrive soon. Emile was not invited.
This incarnation of Animal Farm is filled with the generic plot points, immature humor, cardboard characters and visual flaws that you have come to know from today’s lesser children’s films.
The external threat invaded the domestic environment at the most valuable moment: grieving.
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.
The 1950s lesbian romance is stunning, emotional, restrained, and, simply put, one of the best movies I’ve ever seen depicting a woman-loving-woman (WLW) relationship.
Pressure is an unambiguously great movie, lead by convincing performances, a well-crafted script, good direction, and at least some social awareness.