Irène, a young cabaret dancer in the 1920s, experiences the disillusionment of her dreams of glitz and glamour every day on her way from her dressing room to the stage.
We’ve always known that Edgar Wright is a mixologist when it comes to blending sound, light, colour, and texture. This is especially true in the first act of the film. In fact, all of my positive feedback is directed exclusively at the first act of this film.
As Sexual Assault Awareness Month comes to an end, I’d like to urge viewers and filmmakers to take a long and hard look at how rape is portrayed on screen.
Dead Poets Society relies on patriarchal tropes such as overbearing fathers, contrived brotherhood, and faux-individuality in order to portray its straight white male characters as oppressed.
Tarantino's alternative history of the 1960's uncritically repeats the era's sexist and racist stereotypes.
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.
In Stowaway, director Joe Penna narrates the story of a starship crew (Anna Kendrick as Zoe Levenson; Toni Collette as Marina Barnett; and Daniel Dae Kim as David Kim) struggling with serious technical problems on a two-year mission to Mars. During the trip, they discover aboard the presence of Michael (Shamier Anderson), a stowaway who jeopardizes everyone’s life on board.
