Pasquale Marrazzo directs this understated, gritty look at a trio of young people struggling to make their own lives in the face of terrible odds. Giovanni is a young man from a poor family, eking out a living as a gas station attendant. His twin brother Moreno has Down's syndrome and lives in an institution. Giovanni's girlfriend Betty lives with her dissolute mother and her mom's thuggish, lecherous boyfriend. When he learns that the institution put his brother up for adoption, Giovanni is indignant, vowing to bring him under his family's care. More than willing to escape her mother and the casual pawings of her lover, Betty moves with Giovanni. Giovanni's single-minded struggle to claim legal guardianship over Moreno suddenly gives the two a direction in life and soon a family of sorts forms.
“Candyman ain't a 'he.’ Candyman is the whole damn hive." Candyman represents all Black victims of white supremacy, and this art form narratively conveys it in a succinct, adulatory way, the history of which is rare to find.
Tara Thorne’s film is equal parts emotional and comedic, illustrating the beauty and the pain of long term relationships.
The three themes of lessons learned from HBO Max's Station Eleven are the same as the pandemic: love, regret, and art.
The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.
'Legally Blonde' remains a standard of feminist filmmaking over two decades after its release, although its poor treatment of racial and sexual minorities make it a product of its time.
This coming-of-age movie based on the 1970 book by Judy Blume gives viewers a scope on female topics in the quest for a religious identity.
