The Lion King (2019) — Did Disney actually learn anything?
Disney has hopefully learned some lessons since 1994. Are those lessons reflected in the 2019 remake of "The Lion King?"

Women migrant workers from Mexico stand by the roadside and hope to find some work, the same way crowds of unemployed Americans used to stand during the Great Depression. One of them, Fernanda, gets lucky - she is hired into a Hasidic family. There Nechama, a young mother who becomes suspicious that Fernanda is lazy, discovers that a chauvinistic Jew from the recruiting agency doesn’t pay the cleaning lady. Fernanda explains herself in broken English, and even though she and her new friend might not be able to obtain any justice, they at least will be capable of revenge. Mutual understanding will prove to be stronger than the class division of society, as is right and proper. Isn’t this the kind of reconciliation across genders and cultures that the United States, and subsequently the entire world, are hoping for?
Disney has hopefully learned some lessons since 1994. Are those lessons reflected in the 2019 remake of "The Lion King?"
Netflix's new thriller Apex, starring Charlize Theron, puts a twist on survival horror. Despite its setting in the beautiful- yet-dangerous Australian wilderness, Apex is not a movie about man vs. nature. Instead, it’s woman vs. man. While checking out the title card and its unpretentious Netflix release might lead viewers to believe Apex is just another celebrity project churned out of the streaming machine, Apex - whether by luck or by intention - is a consistently harrowing film about the reality of being a woman in a public space.
World-famous drag queen Trixie Mattel shares a year of her life with the world in this vulnerable and uplifting documentary.
“Nobody 2” is the kind of sequel you expect to roll your eyes at—and then end up grinning through the whole thing. Bob Odenkirk proves once again that an ordinary-looking guy can be the most entertaining action hero alive, battling cartels with harpoons, deep fryers, and pure chaos. Toss in Sharon Stone as a delightfully over-the-top villain, and you’ve got 89 minutes of wild, joyful mayhem that reminds you why going to the movies is just plain fun.
The fun tricks used in the production design and lighting read extremely well on-screen but hardly fulfill their purpose of trying to inject glamour into a lack-luster story with nothing to say.
In Paul Feig’s newest comedy, Last Christmas, Katarina (Emilia Clarke) didn’t give a heart, she got a heart, you see.