A five-year-old boy is completely uninterested in food, which results in conflicts with his mother. The effort she invests in feeding him is equal to the boy’s effort not to eat the offered food. The longer the lunch, the clumsier is their balance on the verge of fight. The duel between the boy’s resourcefulness and the spoon, the tears and mother’s love, ends with the victory of the more persistent. The last bites are either left on the plate, or leave with the boy to bed in his mouth.
If you were to watch it on streaming when you have nothing to do, it’s still probably a giant waste of time, but you could do far worse. Paying $18 for a movie ticket and who knows how much for concessions turns this from an exercise in boredom to an exercise in frustration.
Ruben Östlund muses about his characters, “As soon as you get close to a person, you see them as just another human being”. It is widely recognized that aboard the luxury yacht in ‘Triangle of Sadness’, the different groups of people represent a small society as a commentary on classism and gender binaries.
In a post-Gamergate media landscape, it's ambitious to have a film confront the harsh reactions to women in gaming from a comedic lens.
Americans love the British monarchy. This may seem confusing because only a few short hundred years ago they were our worst enemies, and every year we celebrate our independence from them. The Crown humanizes the monarchy, which might explain its popularity.
Nightbooks, the newest entry in children's horror, honors classic horror films, focuses on themes of acceptance, and has awesome production design.
Joann Kohng’s Subject to IX tells the heartbreaking truth of the Title IX rules that colleges abide by.
