Charles Santore, in an expansion of his discussion in “Oz: The American Fairyland” (1997) (V), tells about his experience making an abridged storybook of “The Wizard of Oz”. He tells of his inspirations, the little girl who modeled for Dorothy, the tin man in folk art, and a left to right progression in a journey of identity, with opposing forces pushing the movement in art back to the left.
There were too many irrelevant parts that could have been shortened, and too many characters that didn't advance the plot. Either way, some things didn't add up. This was just another played out plot with little, if any, originality in it. By the end of the film, I wasn't happy that she finally got her freedom, I was happy that it was finally over.
It was always people for Joe, and he ultimately found them at the end of a long, painful, yet illuminating quest for self-discovery outside of one, confident constant - his bisexuality.
A bond between a girl and her dog takes an unexpected twist as the dog is not what it seems.
In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.
I’m disappointed in The Woman in Cabin 10, but that’s at least in part because of my love of Ruth Ware’s novel.
For many people, Disney+’s debut show, The Mandalorian, was a breath of fresh air for the Star Wars universe. The Disney Gallery shows audiences how that show came to be.
