The film tells the story of Martin S., his return to Dresden, which he left more than 20 years ago. He discovered some film materials of his own that he shot in 1988, and came upon his files held by the State Security where there was information given by a person which contained details that could only be known by his then first love. So begins his search and questioning about his memories and testing believed reality.
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.
As a frequent “the book was better” extoller, this movie was well worth the watch.
These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.
Eddington attempts to capture how media is intertwined with the uncomfortable present.
This little Netflix film was very inspirational. It passes the Bechdel test, and features a different worldview with rural Indian representation.
Hokum is an enjoyable horror film that will probably get a little under your skin, but it isn’t the tour de force that you might be expecting.
