Defendamos la vida 

'Living' dives into many themes that we can all understand regardless of our cultural backgrounds. We can see this through the shared similarities between 'Ikiru' and 'Living'.

The venn diagram of pop feminism and white-centered feminism is a circle. Acknowledging that is not a crime nor a diminishing of 'Barbie', Director Gerwig, or feminism in general.

Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.

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.

'The Suicide Squad' is at its best when it focuses on its characters and commentary on real-life issues, but stumbles when it relies too heavily on gratuitous gore and insensitive humor.

Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.