In the 1960s, Okinawa was under American military occupation. Young Takeshi leads a passive go-with-the-flow existence, working as a bartender at a bar called Sekai where his ex-girlfriend Michi also worked. When Takeshi launches a flare bomb during a military blackout, expressing his frustration with the American military as well as himself, he encounters a mysterious boy with no name. He undergoes various changes living with him, but then an event occurs which will destroy Takeshi's identity to the very roots.
In all actuality, “Just Mercy” should be labeled a “wall punching narrative.” Constantly, the flick throws high forms of adversity our way, amping up our most inner levels of discomfort. Filmmaker Destin Daniel Cretton wonderfully paces the film in such a way that replicates the slow-burn nature of justice.
In this remake of the 1993 film of the same name, The Wedding Banquet follows the life of two queer couples as they struggle with life-changing decisions.
When you don’t factor in the plethora of inferior sequels that have been produced, Luca is one of Pixar’s simplest and most unassuming films in years — and there is absolutely nothing wrong with that. The film thrives on being a visual feast with a warm message for all ages, so much so that its unoriginal storyline doesn’t feel that big of a problem.
Emily Henry’s adaptation reaches romance movie standards, but not romance reader standards.
As a cultural touchstone, Jaws has launched a thousand parodies, tributes, and memorable quotes.
Love, Simon (2018) based on the book “Simon vs The Homo Sapiens Agenda” (by Becky Albertalli) is a teen LGBTQ+ rom-com with themes of longing to find others with similar struggles, and ultimately is a story of acceptance of identity from those around you, and most importantly, from yourself.
