In Southeast Asia, armed guerillas storm a party being hosted by a major Japanese trading company. They kidnap Eri Enomoto (Rika Uesugi), the director's daughter, and demand a huge ransom. But company infighting stalls plans to comply with the kidnappers, and Eri's father collapses from the strain. When Eri's childhood friend, Miki (Natsuki Katoh), learns of the kidnapping and the company's reluctance to save her friend, she decides to try and rescue Eri on her own.
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.
Spotlighting the legacy of the legendary Raymond Lewis through the love of a devoted daughter.
A throwback to the last months of the 20th century in this comedy film.
2025 has just about wrapped, so we’re taking this time to celebrate the most inclusive films that came out this year. Graded on Gender, Race, LGBTQ, Disability, and more
Adam McKay might have been more concerned with cramming cameos than he was in this story which is a bloated criticism of the rich and famous… delivered unto us by the rich and famous.
“Candyman ain't a 'he.’ Candyman is the whole damn hive." Candyman represents all Black victims of white supremacy, and this art form narratively conveys it in a succinct, adulatory way, the history of which is rare to find.
