Silliness and the Undead - Zombieland: Double Tap
'Zombieland: Double Tap' was entertaining and fun at times, but not very evolved. It had poorly developed female characters and stereotypical characters of color.

As befits a full-blooded Jiang Hu (underworld) antic, COTL takes place over the course of a short, frenetic period, feeling to all intents and purposes like one night. It encompasses plenty of gore and cadavers (unless you get the sanitized, inferior mainland version), relying to a large extent on so-called triad codes of honor and organizational culture. At its core resides old boss Dragon Brother, done by Eric Tsang in a repast from his barrage of comical roles and commercial endorsements. The head wants to retire, leading to chaos in gangland as everybody else desires his position and accumulated fortune. Following his fateful announcement, two rival Mafioso's become potential enemies as Dragon Brother and concubine (Suki Kwan) aim to leave Hong Kong in order to start a new life in Europe.
'Zombieland: Double Tap' was entertaining and fun at times, but not very evolved. It had poorly developed female characters and stereotypical characters of color.
Films about casinos have long been a favorite of Hollywood. This is unsurprising, as they're often tied to magnetic characters whose lives revolve around luxury, spectacle, and even danger.
The makings of a great midseason filler episode that would connect in many different directions. This is a police drama filler with a guest director.
Every movement becomes a question of identity. To become who we are meant to be. In order to reach that we often have to shed who we once were, and that shedding can sometimes be so brutal it’s ungraceful.
In Jeymes Samuel's history-infused, neo-spaghetti western, Black women are center stage with a fresh hip hop mixtape keeping rhythm in the backdrop.
I have talked with founder of Red Nation Television Network, Joanelle Romero, and the future of Indigenous representation looks bright.