Garfield the Movie: A Failure in Adapted Characters
An analysis on how the Garfield movie fails to represent the characters it is adapting, especially the women, by removing their best characteristics.

The final installment in director Lucas Belvaux's trilogy follows Pascal, a cop who sees a return to credibility in the capture of escaped convict Bruno--who in turn is harbored by Pascal's morphine-addicted wife Agnes. Pascal's already precarious ties to Agnes are strained further when he meets and falls for her fellow schoolteacher friend Cecile. With Pascal focused on Bruno and Cecile, Agnes is forced to find a fix on her own.
An analysis on how the Garfield movie fails to represent the characters it is adapting, especially the women, by removing their best characteristics.
This is not a film, it’s a drop tower. A drop tower that you don’t get off of for the vast majority of its 106-minute runtime.
"King Richard" paints a nuanced portrait of a Black father trying to ensure his daughters’ success in a racist, misogynistic world. Yet, Richard and his kids overcome that fear and adversity to succeed.
Over the last several years, I have had the privilege of being one of the critics having the opportunity to watch and review several films from writer/director/producer Marcellus Cox, whose efforts are never anything less but grounded, relevant, and steeped in unflinching glimpses illustrating the gripping, inspired, and ever-vacillating realms that make up the human condition.
This current year, as well as the past several, has seen a slowly building increase in something the horror genre has required for quite a while in this critic's opinion...originality. I've stated before that I am very hard to please when it comes to this vein of the film industry's offerings, always leaning more towards that which sends chills through my very being in lieu of buckets of blood and gore.
We chat with Penelope Lawson about her short film, The Dinner Party, her experience founding her own production company, and fun cinema.