Gabriel, an imaginative six-year-old, has developed a close relationship with the ants he's keeping in his ant farm. When one of them stops moving, he asks his mother questions about love, life and death for the first time. After listening closely to his mom’s distracted response, Gabriel's unique interpretation leads him to go to great lengths in caring for the soul of his ant, making sure it gets into heaven. Eager to witness the deceased ant's passage, Gabriel embarks on a self-appointed quest and is rewarded.
This film manages to be simultaneously topical and timeless. Without being preachy, it highlights society’s flawed relationship with tech; insights into the complex ideas of family struggle are expertly dispersed among a perfectly paced and balanced story.
Haven't you heard? There's a new horror subgenre: cerebral gore, that's probably been around for decades and we're now just starting to talk about it.
I first saw Dear Evan Hansen on the Broadway stage. Apparently, I was so blown away by the magic of theater that I didn’t pick up on the questionable dynamics. The story's clumsy handling in the movie brought those issues to light.
I am an Armenian who has a mild form of epilepsy. I rarely see Armenian culture and epilepsy properly portrayed in film or TV. I delve into the how and why.
We’ve always known that Edgar Wright is a mixologist when it comes to blending sound, light, colour, and texture. This is especially true in the first act of the film. In fact, all of my positive feedback is directed exclusively at the first act of this film.
In 1983, V first debuted as a mini-series. It chronicled the story of alien visitors who arrive on Earth in motherships; they look like us, they talk like us, and they say they are of peace
