The play depicts the lives of seven people living in Mumbai, all with their own uniquely moving story. It tries to capture the essence of people living in the city through seven characters who have been strung together in a series of monologues. Stories about the ambitions of a child artist, the escape of a ridiculed wife into art, a single mother’s sacrifice of her life for the sake of her children, child abuse, a TV reporter’s regret of the media’s inability to celebrate positivism rather than sensationalism and negative news, a hilarious take on corruption by a broker and the west beckoning today’s youth are all interwoven. Each character, marked by failure and doubt are clearly self –censored. While they may communicate through candid expression, they subtly allude to greater truths.
The Slumber Party Massacre wonderfully combines the suspense of its horror with its commentary on gender, creating a memorable slasher classic that began a horror trilogy entirely written and directed by women.
The live-action remake of the classic Disney film based on a wooden puppet is finally here.
One young woman with an unusual background tries to find and establish herself in the real world, which isn't exactly as festive as she hoped it would be.
The Force Awakens is A New Hope 2.0, in essence. The story structure is virtually unchanged, marking a safe opening to the new trilogy.
For the most part, 'Sweet Girl' recycles tired hyper masculine revenge tropes, but a surprise twist in the end turns it into a female-centric revenge film.
While the film didn’t hit me as emotionally as I wanted it to, I still enjoyed it. I simply wish there was a little more, particularly with the world building.
