Cinemartyrs 

There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.

For the most part, 'Sweet Girl' recycles tired hyper masculine revenge tropes, but a surprise twist in the end turns it into a female-centric revenge film.

An analysis on how the Garfield movie fails to represent the characters it is adapting, especially the women, by removing their best characteristics.

'The Last Black Man in San Francisco' is part fiction, part documentary. Jimmie longs for the old Victorian home that he grew up in — the house that his grandfather built. However, this home is now in an overpriced, White, San Francisco neighborhood.

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.