Everything The Critics Got Wrong About ‘Pinocchio’
I was able to watch the gleefully mesmerizing Disney remake that was Robert Zemeckis’ Pinocchio. I was enthralled by Zemeckis’ iteration.

Dante is moving into a new house and needs a help. First things on his mind? Get the pool cleaned and install a security system. When Tony Banderas (Antonio's younger brother? A guy can dream, can't he?) shows up for a job, Dante warns "There's more to this job than cleaning the pool." Tony acts dumb, but it isn't long before the two are stretched out with swimming trunks in a pile. While the plot is thin as cellophane, and you may never quite figure out what the "scandal" is, the sexy scene of the fix-it man watching Dante jack himself off from behind the trees is hot enough to make it all worthwhile.
I was able to watch the gleefully mesmerizing Disney remake that was Robert Zemeckis’ Pinocchio. I was enthralled by Zemeckis’ iteration.
Carolina Caroline follows Caroline (Samara Weaving), a bored young woman dreaming of escaping a small Texas town where nothing ever happens. When she meets Oliver (Kyle Gallner) at her workplace while he is conning the owner, she sees her perfect opportunity to get out. Their whirlwind romance strongly echoes Bonnie and Clyde, as the two quickly embark on a bank-robbing spree.
Netflix’s Shadow and Bone has a complicated relationship with race. It has a diverse cast, but not without its problems. Based on Leigh Bardugo’s two book series, the show features characters from the Shadow and Bone trilogy, which is very straight and white, and the Six of Crows duology, which is much more diverse. When bringing together a cast and writing about these characters, the team behind the show expanded upon some of the representation missing from the first trilogy, then seemed to take away representation from the duology. Shadow and Bone seems to play a bit of a push and pull game when it comes to portraying diversity onscreen.
Naked Gun: The New Police Squad Team delivers exactly what fans want: relentless, expertly crafted chaos that honors the original while cranking everything up to eleven. The gags fire at machine-gun pace—sight jokes layered with wordplay and physical comedy so outrageous it borders on art. It's gleefully self-aware without being cynical, silly without being stupid, and maintains that perfect ZAZ-style balance of treating absolute absurdity with complete seriousness. The film knows exactly what it is: a comedy missile designed for maximum laughs, and it hits its target with surgical precision. Pure, unhinged entertainment that proves spoof comedy still has plenty of life left in it.
One of the great achievements of this film is its ability to challenge the mind and to force you to try to process information in a different way than you’re used to.
Bong Joon Ho’s masterpiece, Parasite (2019) became one of the few international films to break into the American mainstream.