Baring it all in 'The Bear'
Personalities clash and tempers fume in a family-run Chicago restaurant

Matias Vigliano and Dante Zaballa (aka Parquerama Studios) create psychotropic and loop-filled animated worlds blending pencils, markers and After Effects. Much to our delight, they just sent us their latest collaboration: a non-sensical, vibrant and amorphous tale called “Big Bang Dog.” Vigliano and Zaballa: “Cartoons exist ergo we exist. Our craft is entirely by hand and frame by frame. It requires time and infinite patience, and even so we enjoy very much doing it. The shorts we develop are a summary of thousands of original illustrations, motion tests, timing adjustments and detailed backgrounds. “Our tidy process guarantees a happy ending. We use sharp pencils to sketch, medium felt-tip marker for thick lines and ultra fine fiber-tip marker for details. With our inked frames and audio master, we go directly to After Effects for the final composing and color.”
Personalities clash and tempers fume in a family-run Chicago restaurant
Disney has hopefully learned some lessons since 1994. Are those lessons reflected in the 2019 remake of "The Lion King?"
The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.
A trio of girls form a band and enter a singing competition together after learning they work best as a team.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.