A young couple spends the night in a motel room in the Brazilian Capital. Amid drugs, drinks, money and whims, they mimic a marriage cerimony, triggering the violence between patriarchy and the Brazilian political elite.
At first glance, one wouldn't think John Carpenter's cult classic would be a thematic double-billing - or that Free Guy would be worthy of being mentioned in the same sentence as They Live - but the two films of vastly different genres have more similarities upon further examination.
A strong representation of African Americans in this film features evil spirits and horror-themed elements.
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.
This is ambitious horror filmmaking, and in a lot of ways, I fully admire its ambitions. For me, the film’s sloppiness defines its overall quality.
The characters aren’t likable, the story is predictable and the humor is either disgusting, obnoxious, or uncomfortable. The Wrong Missy is a mess of a film and it’s not really worth your time.
I first saw Dear Evan Hansen on the Broadway stage. Apparently, I was so blown away by the magic of theater that I didn’t pick up on the questionable dynamics. The story's clumsy handling in the movie brought those issues to light.
