'Alice' Doesn't Live Here Anymore
'Alice' is a genre trifecta: one part revenge drama, one part historical account, one part throwback to Blaxploitation—kinda 'Django' meets 'Roots' meets 'Foxy Brown.'

It's the story of Anton, an ex-boxer who wakes up in an airless room, seemingly without any sense of direction or purpose. A fateful breeze wafts into the room; a tabloid newspaper opens to a specific page: "Help wanted." He ends up watching a dilapidated old house in the lonelier outskirts of Metro Manila.
'Alice' is a genre trifecta: one part revenge drama, one part historical account, one part throwback to Blaxploitation—kinda 'Django' meets 'Roots' meets 'Foxy Brown.'
Despite the film’s efforts to reframe its heroine with modern complexity, a certain emotional distance lingers.
Animation as a medium of storytelling can be thought to be open to all ages and as I hope my reading will reveal, 'Nimona' could be interpreted as a transgender story.
Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.
Through three intricately crafted seasons of television, "Hannibal" has managed to make itself into the best incarnation of the self-titled work.
'Yes, God, Yes (2019)' is a coming-of-age tale about a Christian teenage girl discovering her sexuality, the turbulence that comes with it from within herself, and the judgment from those around her.