An unemployed maid is hired in a music hall to wash the floors. The whim of a screenwriter makes her go on stage in the most basic outfit. A revelation, success is at his doorstep! However, the young woman would prefer a virtuous life and a serious marriage to the easy but immoral existence offered to her by the world of entertainment.
This film was filled with great plot points. Unfortunately, they all contradicted each other and clashed. Had the premise of Awake been more consistent and accurately portrayed the real world aspect, I think this could have been an extreme success.
The film seems like an extreme interpretation of the conspiracy theorists that exist in real life. And then, there’s the twist.
There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.
Netflix’s Shadow and Bone has a complicated relationship with race. It has a diverse cast, but not without its problems. Based on Leigh Bardugo’s two book series, the show features characters from the Shadow and Bone trilogy, which is very straight and white, and the Six of Crows duology, which is much more diverse. When bringing together a cast and writing about these characters, the team behind the show expanded upon some of the representation missing from the first trilogy, then seemed to take away representation from the duology. Shadow and Bone seems to play a bit of a push and pull game when it comes to portraying diversity onscreen.
Curry Barker’s film, Obsession, soars in success this past May leaving everyone who has watched it in extreme chills and disturbance. And taking it to new levels of why men are always the root of horror films even when they try not to be.
Set in a future dystopian United States in which water is running out, Julia Hart’s Fast Color (2018) is a refreshingly different take on the superhero film.
