Cold Heaven (1992)

Zombie apocalypses have been metaphors for late-stage predatory capitalism, but never a system disrupter that brings about freedom.

It’s passionately protective of the women mentioned in the story or appearing on screen. Just like the article and the #MeToo movement, the film could help a trapped person find the courage to fight back.

My review’s title is a nod to Shakespeare and is entirely deliberate. The original movie portrayed the high-end fashion world as a brutal arena of plotting, backstabbing, and betrayal, and most Shakespeare’s plays depend on these plot devices. The Devil Wears Prada 2 uses the same formula, and is, plot-wise, almost identical. Once again, we plunge into the cutthroat world of Runway, where to get and stay at the top, you must let go of your principles and moral sense. The only thing different is that due to the digital era, Runway is not a print magazine anymore, but one that is running online.

Most movies give you their point upfront, while others make you think it’s about a specific topic, then reveal that the story is about something else. Pink Lady belongs somewhere in the middle of those two categories.

Despite it being one of the most visually impressive action movies I’ve ever seen, everything else fell short of my expectations.

It’s easy to dismiss Joel and Ethan Coen for writing from the world they build from outside the box of overarching Hollywood stereotypes, but their inability to compromise their collective vision is precisely what makes the simplistic nature of their world-building and characters so brilliant. It’s also what led Fargo to collect seven Oscar nominations and two wins for Best Original Screenplay and Best Actress for Frances McDormand’s brilliant portrayal of the sincere, motherly detective whose wholesome demeanor seizes the day over the selfishness, corruption and evil of the men who don’t comprehend that there’s more to life than a little money.