This is the story of the Charles Heidsieck who opened the market for Champagne sales in America just prior to the American Civil War. He is a reluctant French spy and is captured and spends time in a Union prison. There are two parallel love stories (he is French) and some battles with his uncle for control of the family vineyard (because his father married his mother who the uncle also loved).
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.
"Thunder Road" presents the grief that comes from a family member taking their own life.
This romance movie has strong representation of Taiwanese people.
Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.
The Mandolorian has a more nuanced and commentative take on masculinity that refrains from praising the toxic traits associated with the social category, while also showing a more positive and transformative representation of masculine characters.
"There is something going on between us that I cannot unravel."
