“Tony” is Yet Another Good Biopic
The problem isn’t that it’s bad. It's good. But it fails to stand out from a crowd of similar films.

In a small Gallic village, tourists are regaled by street entertainers and brash prostitutes. One of the tourists, a black girl named Bessie, falls in love with local villager Bob, and he with her. Soon racial tensions erupt volcanically among tourists and townsfolk alike. All is forgiven when the respective parents of the hero and heroine save the village's water supply.
The problem isn’t that it’s bad. It's good. But it fails to stand out from a crowd of similar films.
The character of Mulan is one of Disney’s best heroines. She’s brave, kicks butt, and has a kill count. What other Disney character has killed hundreds of Huns by crushing them with an avalanche? No one.
Films about casinos have long been a favorite of Hollywood. This is unsurprising, as they're often tied to magnetic characters whose lives revolve around luxury, spectacle, and even danger.
I didn’t love Expecting Amy, the mini-series following Amy Schumer’s pregnancy, but it brought up a lot of great unspoken side-effects of working and growing a human in America.
Shudder’s Host (not a particularly original title, I must say) attempts to bring the spooks to “the quarantine generation” by presenting us with a scary Zoom call during lockdown.
On top of the phenomenal acting, and great dialogue between the two characters, the cinematography was ravishing! The sound was outstanding! The production design was simple, yet intrinsic. The minimalistic approach in the Malibu beach house represented how little they really have going on in their relationship. The storyline may have been much simpler than "Who's Afraid of Virginia Wolf," but all the more insightful, and much more animalistic at its core.