Boca de ferro 

I was able to watch the gleefully mesmerizing Disney remake that was Robert Zemeckis’ Pinocchio. I was enthralled by Zemeckis’ iteration. 

'The Lovebirds' is one of those movies that has a very direct appeal when it comes to its comedy. There isn’t a singular style, so much as tidbits of various ones here and there.

These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.

Ester Shapiro who flees the only home she has ever known to start a new life in Berlin.

A refreshing twist is that all the kids’ powers are…kind of useless. There’s a kid who can only move in slow motion, a kid who has every power in the world but can only use them randomly, and our main character Missy who has no powers at all. The thesis of the film seems to be that it doesn’t matter what kind of powers you have, its the way you use them, which is good for the warm and fuzzies.

A Christmas movie that is not about a middle-class, straight relationship but centers on a lesbian couple.