The setting is a heavily wooded, bandit-infested mountain pass somewhere in northern China during the Sino-Japanese War. In a dilapidated church lives a sullen young woman and her ferocious mutt. Passing through are strong, silent traders and porters, to whom she dispenses food, foot care and occasional sexual favors. Following an attack by bandits, a brutish porter stays on to tend his injuries and make moves on the woman. She, meanwhile, has the mutual hots for another porter, the handsome, kindlier “Sixth Brother." As tensions rise between the two men, the Japanese arrive to take the place by force...
Eventually, “Hobbs and Shaw” introduces us to a Samoan community. Clearly, Johnson’s Samoan roots are on display. Quite frankly, I found this section of the film very intriguing. The “Fast and Furious” franchise has a solid track record in the diversity department
The plot could’ve really been interesting if the elements of lycanthropy was integrated with perhaps the struggle of identity of being LGBTQ+. It's an experience for so many that as they’re starting to realizing their true selves, they feel like a monster, especially if they come from unsupportive homes or communities. Instead, the horror and transformation elements seem thrown in without contemplation of how this could deepen the narrative.
'Motherless Brooklyn' is a 1950s whodunit made by its star, Edward Norton. Like most detective films in this setting, the cast is mostly white males (with a few notable exceptions).
Keep scrolling to find names that should become part of your watchlist!
Written and directed by Eva Victor, who also plays Agnes, the main character, Sorry, Baby is slow and artsy, but extremely effective. It shows how the trauma developed after a sexual assault has a ripple effect and loudly echoes in the victim and her life for years after.
Haven't you heard? There's a new horror subgenre: cerebral gore, that's probably been around for decades and we're now just starting to talk about it.
