What if William Shakespeare never existed... until now. Our Modern Bard is caught in a love triangle of confused sexuality, cross dressing, mistaken identity, and bedroom trysts. Does Shakespeare love his lusty best friend, Wilma Hartford, who's also a drag queen, or his lovely long-time girlfriend Anne Hathaway. This battle to understand Shakespeare's true heart is a comic romp. All the while, Shakespeare peddles his screenplays in Hollywood. Renaissance and modern sensibilities clash when an all-male stage version of Macbeth and the misogynistic low-budget film "The Taming of the Shrew" open simultaneously. The combustion makes "The Bard," played by comedic genius Jason D. Johnson, the most controversial screenwriter in Hollywood.
Wild Child tells the story of a wealthy, spoiled teenage girl named Poppy Moore who lives in Malibu, California, who attends a boarding school in England. This film shows us how Poppy is first labeled as a fish out of water compared to her boarding school classmates, as she is a wild child, but eventually earns her roommates' friendships and respect.
The film is bogged down with one-off rain monster threats that always come to a quick and undramatic end
Who knew a drunken game of truth or dare could launch one of the most chaotic rom-coms of the year? The Threesome takes Connor’s fantasy night with Olivia (Zoey Deutch, in peak queen-of-indie form) and Jenny (Ruby Cruz) and flips it into a deliciously messy nightmare when both women end up pregnant. What follows isn’t cheap comedy—it’s a whip-smart, heartfelt exploration of love, consequence, and the beautiful disasters we call adulthood.
The live-action remake of the classic Disney film based on a wooden puppet is finally here.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.
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.
