Aimée 

Animation as a medium of storytelling can be thought to be open to all ages and as I hope my readings will reveal, they could be interpreted as transgender stories.

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.

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.

This surprisingly clever romantic comedy perfectly balances genuine heart with wild reality television chaos. It is an uplifting and funny reminder that second chances and real community can show up exactly when you stop looking for them.

'Motherless Brooklyn' is a 1950s whodunit made by its star, Edward Norton. Like most detective films in this setting, the cast is mostly white males (with a few notable exceptions).

If you mix religious rituals with dark mythology, the result will be effective, and the story powerful in 90% of the cases. That is exactly what happens at the beginning of The Vigil.