Two young women, Lisa and Susan, meet and fall in love at a tennis club in Rome. The two lovers disappear into the privacy of the nightclub and its lounges with carpets and goldfish in the glasses. But their harmony is disturbed by the arrival of a man: Susan cheats on Lisa with Fred. Between jealousy and bottles of Johnnie Walker, the triangle explodes in a luxurious apartment. More elegantly, we will move from the lounge to the police station, where the officer of service will make a duty to lecture them. For the trio there is only one alternative: collective suicide in a classic car, they launch themselves at the bottom of the cliff in order to free themselves from the weight of an misunderstood existence. No one kills anyone: death is a deliberate choice in the face of the tragic absence of an alternative in a world that only condemns.
If you've watched 'Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles', you are either someone who believes “nothing happens” in this three and half-hour film or you’re like me who believes everything happens.
Cord Jefferson's hilarious and thought-provoking film continues a long-standing cinematic tradition, expanding the conversation around the impact of systemic racism in today's media.
Lindsay Lohan makes a big film comeback in this amazing holiday comedy of the year.
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.
The highly anticipated 'Spider-Man: No Way Home' has been released in theaters and now it's time to rank all the previous MCU 'Spider-Man' films from Tobey Maguire to Tom Holland based on their awesomeness.
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.
