Guillermo del Toro's Pinocchio
During the rise of fascism in Mussolini's Italy, a wooden boy brought magically to life struggles to live up to his father's expectations.

Lia is that part of himself that Vincenzo, a stand up comedian, married and with a child, never wanted to accept. She was his 'imaginary friend', the one his father sent away on a train when he caught him touching himself on the photo of a schoolmate. Now that his daughter has discovered his secret, Vincenzo has only one way to free himself from himself. In his latest show, he makes an appointment with his audience on platform 3, to say goodbye one last time. Only one of them will show up: Angela, who will find Vincenzo lying on the rails and will try to prevent him from making that extreme gesture. Because Lia exists. And it doesn't have to die.
During the rise of fascism in Mussolini's Italy, a wooden boy brought magically to life struggles to live up to his father's expectations.
Overall, Sand Castle was another lack luster war drama that will eventually fade into the many similar war dramas I have seen throughout my life.
It’s fun, it’s energetic, but it’s also understated and vicarial. Zola is a modern black fairytale and future of black movies.
It surely isn't for everybody and could certainly offend some folks, but Troll Hunter takes a different approach to representing religion in a film.
Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.
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.