Two families, two homes and too many secrets. The Hendersons are a textbook dysfunctional family: Jason is a money-hungry philanderer; Amanda is an inattentive alcoholic. And both are eagerly consuming whatever sordid sexual opportunities cross their paths. Then there's the kids: Suzanne is a fashion-model while Neal is halfheartedly following his father into a legal career. When the next-door neighbors - a sexy widow and her prudish daughter - arrive, it's only a matter of time before the curtain falls on this charade.
The most divisive character in Multiverse of Madness is undoubtedly Wanda Maximoff. Is she good or evil? Is she "unlikeable?" I'm tired of the debate. I love Wanda because she's for us—she's for the women.
I write for a diversity-focused film review blog, so I’ll be honest: I really wanted to like Pretty Lethal. Starring Maddie Ziegler, Lana Condor, Iris Apatow, Avantika, and Millicent Simmonds, Amazon Prime’s new thriller seemed like it would be a girl power movie about dancers with a horror action twist. Sort of a Suspiria for teens. But with shallow and unlikeable characters, a confusing plot, an overreliance on violence, and cringey dialogue, any fun the movie started out with was quickly lost. What was left was a faint echo of greater horror movies about dancers made before.
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.
That feeling in your gut which tells you that there’s something out there you should look for and make your own, is what the power represents
A decade since it aired, Shameless (U.S.) has always stuck to its guns (and baseball bats) about character diversity.
"The Platform" is horror and science fiction film doubling as a visual commentary on capitalism and economic inequality. The movie is not for the faint of heart nor the viewer hoping for political neutrality in their film's depth.
