A group of actors are rehearsing an historic escape from Germany of 1939: The Cruise Liner St. Louis is on its way to Cuba, 900 Jewish refugees on board. Cuba denies access. On board: Paul, Elsa and their son. Do they have to return to Germany again and probably die? A group of today refugees from Africa, fleeing from war and death in Syria, enter the theatre. They are supposed to work here as extras. A culture clash begins and becomes a crossover story between escape 79 years ago and today.
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.
It’s a cool looking Marvel character right off the page! He’s got these glowing eyes and he just kicks ass everywhere he goes, seemingly impervious to pain.
Make no mistake about it, Gilligan has created a continuation that earns its place in the annals of Breaking Bad lore. El Camino isn't a forced entry in an otherwise brilliant world of fiction. This is a satisfying take, which manages to give closure to an iconic character of fiction.
Barry Jenkins' masterpiece holds up as the story of a lifetime centered on the intersection of Blackness and gay identity.
Shudder’s Host (not a particularly original title, I must say) attempts to bring the spooks to “the quarantine generation” by presenting us with a scary Zoom call during lockdown.
Zombie apocalypses have been metaphors for late-stage predatory capitalism, but never a system disrupter that brings about freedom.
