"Godzilla vs. Kong" is pure, stupid fun
"Godzilla vs. Kong" is all style and very little substance. It's also the most fun I've had in months.

In the grand tradition of the lone hero who mysteriously appears in a town desperate for help (think "Shane, "Billy Jack", "James Bond" and "Chinese Connection"), having survived a war and now serving the government as an undercover agent, Danny Silva takes on his biggest foe yet: the street gangs that have taken over his neighborhood. Unwilling to play by the rules set down by the criminals, Silva forgoes the use of guns and decides to battle the thugs with the strength of his fists, spirit and willpower, turning himself into a real-life, modern-day superhero. Packed with pulse pounding, adrenaline-filled action; "Latin Dragon" gives us our first mainstream Latino martial arts action hero.
"Godzilla vs. Kong" is all style and very little substance. It's also the most fun I've had in months.
In all actuality, “Just Mercy” should be labeled a “wall punching narrative.” Constantly, the flick throws high forms of adversity our way, amping up our most inner levels of discomfort. Filmmaker Destin Daniel Cretton wonderfully paces the film in such a way that replicates the slow-burn nature of justice.
"His Girl Friday" set the bar for romcoms and gave us a feminist heroine before feminism was cool.
Baggage’s experimental mixed formats visualized a woman’s brave inner journey of visiting the museum of her fragmented memories.
It’s easy to dismiss Joel and Ethan Coen for writing from the world they build from outside the box of overarching Hollywood stereotypes, but their inability to compromise their collective vision is precisely what makes the simplistic nature of their world-building and characters so brilliant. It’s also what led Fargo to collect seven Oscar nominations and two wins for Best Original Screenplay and Best Actress for Frances McDormand’s brilliant portrayal of the sincere, motherly detective whose wholesome demeanor seizes the day over the selfishness, corruption and evil of the men who don’t comprehend that there’s more to life than a little money.
'Legally Blonde' remains a standard of feminist filmmaking over two decades after its release, although its poor treatment of racial and sexual minorities make it a product of its time.