Paul is agonising over his interpretation of 'Uncle Vanya' and, paralysed by anxiety, stumbles upon a solution via a New Yorker article about a high-tech company promising to alleviate suffering by extracting souls. He enlists their services—only to discover that his soul is the shape and size of a chickpea.
“Synchronic” is special, but it doesn’t succeed in achieving all the objectives it aims for. The film is a science fiction oeuvre which tries to be cerebral at some points, although the original idea is interesting, it only accomplishes to talk about some serious matters superficially.
Considering the runtime, I expected each scene to hit harder as opposed to a series of montages and vignettes.
Darren Aronofsky’s Caught Stealing is a gritty, darkly funny thrill ride through 1998 New York, with Austin Butler delivering a raw, magnetic turn as Hank Thompson—a washed-up ex-ballplayer turned bartender whose life implodes after cat-sitting for his punk neighbor drags him into a violent underworld of gangsters, crooked cops, and chaos. Brutal yet unexpectedly hilarious, the film blends noir grit with midnight-movie absurdity, proving Aronofsky can reinvent himself while Butler cements his status as a true movie star.
Ripley is a great character because she serves two distinct, but rewarding, purposes in the original film and the sequel.
Can a homeless yet optimistic teenage girl learn to accept a helping hand?
When diverse representation is featured on-screen, it oftentimes comes with strings attached that undermine the message they were trying to send. This can be attributed to the fact that behind-the-screen, the industry primarily does not reflect the breadth of diverse difference that is present in daily life. That’s why when something as powerful and authentic as Minari comes along, it is both incredibly wonderful and needs a large audience to witness it.
