BAUS: The Ship's Voyage Continues 

Sunny Sandler, daughter of Adam Sandler, stars in a new Netflix film directed by Julia Hart, and it has caught the attention of many younger audiences as they watch this heartfelt coming-of-age story. The film's relatability of just being a normal teenage girl also tells a devastating reality that many cannot fathom facing. The storyline showcases a deeper meaning of the classic theatre kid saying, “the show must go on”, and emotionally captures the struggles that happen on and off the stage.

“And I think to myself….what a wonderful world”. Louis Armstrong sang about this notion via his classic 1967 song, an ode to witnessing elements of our life that should be but some reminders of exactly what that concluding line of each verse indicates. Now we see our contemporary realities and, just being honest, it makes a sentiment like this seem SO overtly far away….perhaps even impossible….to accept or believe could be. It sounds harsh, but again, so much of what is occurring speaks not to beauty, but bedlam.

My review’s title is a nod to Shakespeare and is entirely deliberate. The original movie portrayed the high-end fashion world as a brutal arena of plotting, backstabbing, and betrayal, and most Shakespeare’s plays depend on these plot devices. The Devil Wears Prada 2 uses the same formula, and is, plot-wise, almost identical. Once again, we plunge into the cutthroat world of Runway, where to get and stay at the top, you must let go of your principles and moral sense. The only thing different is that due to the digital era, Runway is not a print magazine anymore, but one that is running online.

If you enjoy Japanese cinema, absurdly violent action films, gangster flicks, or joyfully strange cinema, 'Why Don’t You Play in Hell?' is a must-see.

Alongside A Drowning Man, I Signed The Petition, 3 Logical Exits, and A World Not Ours, A Man Returned continues to paint a realistic portrait of the Refugee Crisis that eschews the Western gaze and stereotype. These are real portraits painted by a director with lived experience, cultural connection and an amazing eye for visuals.

In Paul Feig’s newest comedy, Last Christmas, Katarina (Emilia Clarke) didn’t give a heart, she got a heart, you see.