Krémes érzések (1997)

Overall this movie was an easy watch, but by no means a worthwhile watch.

The newest in a long line of Cinderella adaptations, Amazon’s Cinderella (2021) prizes girlbossification above the very story it tries to adapt.

It only seems to prove that when the company had their backs against the wall and needed an all pleasing, generic movie that had to make up for The Last Jedi, they chose to sacrifice almost everything that made their main protagonist interesting and that made her stand out as the strong female character that a generation of young movie goers was supposed to look up to. Instead, we were left with a Rey that was so much less than she could have been. And I guess that’s the real story of Rey and The Rise of Skywalker; they could have been so much more, but they were just more of the same.

Mai yells what every parent dreads hearing from their child: “tao ghét mày” (“I hate you”) and runs from the scene, where Hai discovers that Mai was telling the truth about the wallet.

Throughout Brendan Fraser’s career, he has played a plethora of unique, layered characters who explore the importance of not being afraid to display your emotions, something that is often seen to not be a masculine trait. This idea of regulating emotion and what traits men are able to possess creates a toxic atmosphere for men who are often told they should not cry or represent their emotions in any physical way. These characters represent that men can be joyful, emotionally conscious, and sensitive, while also representing their masculine identity instead of painting those qualities as fighting against their masculinity.

For those tranquil houses with white fences, what is happening behind every closed door?