Parasite and Capitalism: What the Film Says About the Pursuit of Wealth
Bong Joon Ho’s masterpiece, Parasite (2019) became one of the few international films to break into the American mainstream.

“At precisely 4:30am on February 10th, rise from your bed, get dressed and leave the house. Walk to the bus stop and catch the number 7. Ride until the 10th stop (…) Feel the pigeon stir in your stomach. Allow her to crawl up your esophagus and out of your mouth…”
Bong Joon Ho’s masterpiece, Parasite (2019) became one of the few international films to break into the American mainstream.
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.
If a movie about a strange and crazy day is commercially successful, why not recycle it and double the kookiness quotient? That seems to be the logic behind this followup to Freaky Friday.
If you haven’t watched Good Trouble yet, you need to. This Foster’s spinoff, aptly named for civil rights champion and Congressman, John Lewis, follows Mariana and Callie Adams Foster as they begin a new chapter of young adulthood and navigate life, careers, social justice, and love.
This horror movie combines elements of horror and babysitting with Black representation.
I write for a diversity-focused film review blog, so I’ll be honest: I really wanted to like Pretty Lethal. Starring Maddie Ziegler, Lana Condor, Iris Apatow, Avantika, and Millicent Simmonds, Amazon Prime’s new thriller seemed like it would be a girl power movie about dancers with a horror action twist. Sort of a Suspiria for teens. But with shallow and unlikeable characters, a confusing plot, an overreliance on violence, and cringey dialogue, any fun the movie started out with was quickly lost. What was left was a faint echo of greater horror movies about dancers made before.