In 1952 Hollywood, aspiring singer/songwriter Aggie O'Hanlon is sentenced to life after being found guilty of a murder she didn't commit. While incarcerated, Aggie befriends other inmates also serving life. However, Aggie soon finds herself the target of various 'hit girls'. Can Aggie survive life behind bars long enough to prove her innocence?
Overall, 18 Presents feels more like a soap opera than a drama, and I feel bad for saying that since the concept is based off a tragic story (even though it’s loosely). I’m sure other people will find this film emotional for them, but as for me, it’s bland and forgettable.
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.
Jordan Peele’s film is an intelligent and unflinching piece of work, firmly focused on the African American experience.
Deborah (Jean Smart) and Ava (Hannah Einbinder) are a delight to watch evolve, sometimes devolve, then evolve again.
Masterful satire that shines a light on the struggles of Black creatives.
After We Collided is a sequel to last year’s After, which itself was based on Anna Todd’s 2014 novel of the same name, and which was originally published as a Harry Styles-centric fan-fiction on WattPad (a similar path as E.L. James’ Fifty Shades of Grey series).
