Luchino's routine morning elevator ride up from her subterranean home on level 138 to her school many stories above turns horrific when the elevator operator is ordered to pick up two passengers from floor 99, the maximum security level. What starts as psychological manipulation soon turns wholly physical as both the cruel convicts and Luchino's own dysfunctional past are unleashed. And then every passenger must fight for his or her survival.
Hiroki Yamaguchi
Director
Lukino Fujisaki
Luchino Fujisaki (as Rukino Fujisaki)
Yoshiichi Kawada
Icumavon Inagaki
Ryôsuke Koshiba
Calsuchemof Mitarai
Kae Minami
Alamocia Nakaji
Ikuma Saisho
Viblio Sawatsukumori
Masato Tsujioka
Nocosh Utsunomiya
Keisuke Urushizaki
Zitacock Obitani
Kôji Yokokawa
Calpico Teranouchi
Yuuka Nakabô
Miyako Ololonga Tanaka
Yuuna Sotohara
Calvona Shimokitazawa
Toshiko Sunamura
Fimarli Shimokitazawa
Hustlers was meant to be a film about female empowerment. And it was, to a certain extent. I expected and wanted this to be a kickass and complex film of sexy women who use their confidence, skills, and wits towards a brilliant plan to get revenge on the Wall Street guys who wronged them.
Cassie, a musician, and Luke, a man serving in the Marines, form a false relationship and keep it a secret.
The more we learned with each passing minute the bigger the reveal. This film ends with a serious bang and it was truly a joy to watch.
The differences in these films could not be more blatant, and yet Gus Van Sant has found a way to portray the same messages and use the same techniques in each.
Christopher Nolan transforms Homer's ancient epic into one of the most breathtaking cinematic spectacles of his career. While its nonlinear storytelling and exposition occasionally hold it back, The Odyssey is a visually stunning, emotionally resonant blockbuster that demands to be seen on the biggest screen possible.
Despite its simple premise, “imagine being a woman,” the horror behind "Men" feels fueled by a hollow understanding of the insidiousness of misogyny.