Lighthearted but Shallow: 1Up's Take on Women in Gaming
In a post-Gamergate media landscape, it's ambitious to have a film confront the harsh reactions to women in gaming from a comedic lens.

An ode to the multiplicity, mutability, and expansion of what constitutes a body and a self, through imaging and technological mediations.
In a post-Gamergate media landscape, it's ambitious to have a film confront the harsh reactions to women in gaming from a comedic lens.
Ricky Staub’s Concrete Cowboy, based on Greg Neri’s novel "Ghetto Cowboy", tells the story of a young teenager forced to adapt to a new lifestyle.
Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.
This holiday movie serves as the prequel to the TV series The Really Loud House.
In the film adaptation, director Jon M. Chu turns each musical number into a massive show stopper, with grand set pieces and a wealth of diverse dancers. Yet, in this attempt to show reverence for the people of the Washington Heights barrio, Chu, or maybe more specifically those in charge of casting, left out a crucial part of the community, Afro-Latinos.
Dramatic Horror!!! Wait, what?? Did you say "dramatic horror"?? IS there such a thing?? I mean, TRULY. Well, if San Francisco-based, Pakistani-born independent filmmaker Dr. Hassan Zee and this film critic have anything to say about it, there IS such a beast as experienced through the director's newest feature film set to officially debut October 4th in the City by the Bay. Folks, indie film will always be a bastion of experimentation and originality, and this film for me fits that bill.