Roy Kenner arrives in Bombay hot on the heels of dope smuggler Tom Jordan, the man who murdered his partner. Combing the city for clues to Jordan's whereabouts, Kenner crosses paths with 9-year-old Saji. Saji soon helps save Kenner from the lethal drug dealers, and takes Kenner to his home. Love soon blossoms between Kenner and Anasuya, Saji's mother, and Saji comes to see him as a father. But Kenner's obsession with vengeance threatens to engulf this accidental family in tragedy.
Although Christmas is a time of year for love and cheer for all, holiday cinema has not always represented diverse communities. Being a holiday with Christian origins, much of its media consists of straight white families or straight white romances. Luckily, modern years have been bringing with them plenty of POC and LGBTQ+ representation that the holidays so desperately need.
A few episodes in, I realized the most prominent theme of In The Long Run wasn't culture, race or even finding independence--but the idea of belonging.
"Driveways" is a nuanced portrait of an Asian American family, touching on themes of loss, growth, and belonging.
'An American Werewolf in London' possesses a possible queer reading in the way it envisions a heterosexual romance being undone by the presence of a creature who embodies self-contentment in the face of social alienation.
The Super Mario Galaxy Movie comes on the heels of its billion-dollar grossing predecessor, and seeks to do absolutely nothing other than repeat its success. In this, the film is eminently effective. If you have seen the previous film, you can expect something extremely similar in this package. That is, a barrage of references to Nintendo intellectual property wrapped in a plot that provides the thinnest layer of emotional payoff for the characters.
A teen comedy that nobody wants to see.
