Robert is almost the epitome of a head waiter: Politely and courteously, he informs guests about the goings on in the stock market as well as what’s going on in politics, the world of culture, and the economy. Now, Robert is in love with Lilo, the daughter of Hillmer, who owns a fashion salon, and wants to marry her. Lilo is all bananas for the idea. She doesn’t know what Robert does for a living; only that he does business with her father. The bananas turn sour, however, when she finds out he’s “just” a head waiter! She’ll never marry him; and like the cowardly superficial trash that she is, she asks her father to break the news to Robert.
Cord Jefferson's hilarious and thought-provoking film continues a long-standing cinematic tradition, expanding the conversation around the impact of systemic racism in today's media.
Honey Don't! is a chaotic queer noir that's part detective story, part midnight movie madness. Margaret Qualley is fantastic as the wise-cracking private eye Honey, with Aubrey Plaza and Chris Evans adding their own dry humor to the mix. The mystery itself is pretty loose, but the film makes up for it with crackling sexual tension, weird side characters, and razor-sharp dialogue. It's messy and uneven, but in the best possible way.
Who knew a drunken game of truth or dare could launch one of the most chaotic rom-coms of the year? The Threesome takes Connor’s fantasy night with Olivia (Zoey Deutch, in peak queen-of-indie form) and Jenny (Ruby Cruz) and flips it into a deliciously messy nightmare when both women end up pregnant. What follows isn’t cheap comedy—it’s a whip-smart, heartfelt exploration of love, consequence, and the beautiful disasters we call adulthood.
After the untimely death of his brother by way of an ambush in Kandahar, Afghanistan, the protagonist, ‘81’(Alan Ritchson) unsuccessfully makes several attempts to become an Army Ranger. On his last mission to complete the Ranger selection process he and his squad encounter an otherworldly ‘soldier’.
Between its problematic nature, its lack of originality, and the senselessness of its violence, Onslaught cannot be recommended in good faith.
Ripley is a great character because she serves two distinct, but rewarding, purposes in the original film and the sequel.
