The Wedding Banquet (2025): A Window into Modern Day Queer Relationships
In this remake of the 1993 film of the same name, The Wedding Banquet follows the life of two queer couples as they struggle with life-changing decisions.

Guilherme seeks affection and company for the night on a gay hook-up app. Aren, who lives intensely in the sexual flow of the city, agrees to meet him. Without exchanging a single word, Guilherme is disappointed by the coldness of the encounter and Aren begins to question whether the search for unbridled sex really satisfies the feeling of loneliness that he never stops feeling. The silence of the words that are not spoken generates a war in the minds and feelings of the young boys.
In this remake of the 1993 film of the same name, The Wedding Banquet follows the life of two queer couples as they struggle with life-changing decisions.
This is ambitious horror filmmaking, and in a lot of ways, I fully admire its ambitions. For me, the film’s sloppiness defines its overall quality.
Gretel & Hansel falters due to its razor thin story and lack of characterization. It loses sight of horror’s key rule: In order to create an effective tale, characters and emotions must be emphasized.
A refreshing twist is that all the kids’ powers are…kind of useless. There’s a kid who can only move in slow motion, a kid who has every power in the world but can only use them randomly, and our main character Missy who has no powers at all. The thesis of the film seems to be that it doesn’t matter what kind of powers you have, its the way you use them, which is good for the warm and fuzzies.
The assassins in Bullet Train are quirky, deadly, and diverse. Yet, they all seem to be some type of caricature. While the movie is fun and action-packed, it’s also packed with stereotypes that don’t make for the best representation.
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.