Cool Daddio: The Second Youth of R. Stevie Moore 

A decade since it aired, Shameless (U.S.) has always stuck to its guns (and baseball bats) about character diversity.

What seems like such a simple story of survival is so much more than that—it’s a story of family, and of war, and of destruction. It’s painful to watch, but not in a bad way. It makes its audience reflect on their own actions, and in how they are complicit in the sufferings of others as the adults in this film are. Grave of the Fireflies does not hold back from being heartbreaking, and it shouldn’t. It tells a message that needs to be heard decades after the war, and a story that cannot be forgotten by history.

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

The plot could’ve really been interesting if the elements of lycanthropy was integrated with perhaps the struggle of identity of being LGBTQ+. It's an experience for so many that as they’re starting to realizing their true selves, they feel like a monster, especially if they come from unsupportive homes or communities. Instead, the horror and transformation elements seem thrown in without contemplation of how this could deepen the narrative.

I was able to watch the gleefully mesmerizing Disney remake that was Robert Zemeckis’ Pinocchio. I was enthralled by Zemeckis’ iteration. 

Like Fourth of July fireworks, the film Honey Don’t is colorful and fun to look at, delivering many bangs (sex and guns!) for your buck before quietly fading out.