Bandit 

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.

"Be good. It doesn’t mean you can’t be tough. It doesn’t mean you always have to be nice. Just be good."

Netflix’s new rom-com, Voicemails for Isabelle (dir. Leah McKendrick), isn’t just heartwarming, funny, and an achievement in female directing - it’s also an instant classic. Following 20-something aspiring baker Jill (Zoey Deutch), Voicemails for Isabelle tells a story of grief, self-discovery, and fateful connections. Ever since her beloved sister Izzy’s (Ciara Bravo) death, Jill has been leaving her hilarious, extremely TMI voicemails about her chaotic love life and miserable day job as a prep cook. Little does she know that a handsome and unsatisfied real estate agent in her hometown has inherited the number and practically fallen in love with her by listening to her stories. 

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.

This thrilling film about feminine rage and male hostility is an incredible depiction of the fragility of the male ego.

This modern update of the beloved classic swaps Cyrano's signature pronounced nose for achondroplasia, for a different vision that still retains the original's essence.