Kelsey Donovan searches for her father, Jake, whom she hasn't seen in over twenty years. When he finds her in a picturesque small town in New Zealand, they can't get close. Kelsey's father works as a professional treasure hunter in New Zealand and also organizes diving courses for tourists with Dillon Ward. Kelsey doesn't like her father treating the handsome Dillon like he's his son. When Jake is nearly killed in a diving accident, father and daughter finally seem to bond. When Kelsey and Dillon begin to grow fond of each other, Jake isn't thrilled.
The power to function. As people, we are richly blessed to have the wide ranging scope of what we can accomplish…physically and mentally…that aid in everything we desire to strive for and, ideally, accomplish. However, what if someone was experiencing daily life with these elements….only in a more muted manner?
What seems like such a simple story of survival is so much more than that—it’s a story of family, and of war, and of destruction. It’s painful to watch, but not in a bad way. It makes its audience reflect on their own actions, and in how they are complicit in the sufferings of others as the adults in this film are. Grave of the Fireflies does not hold back from being heartbreaking, and it shouldn’t. It tells a message that needs to be heard decades after the war, and a story that cannot be forgotten by history.
While the director didn't set out to make a feminist film, "A Girl Walks Home Alone At Night" reads as a reclamation of female power in a patriarchal society.
For the most part, 'Sweet Girl' recycles tired hyper masculine revenge tropes, but a surprise twist in the end turns it into a female-centric revenge film.
Slumber Party Massacre is a gory film with just enough commentary on sexist excuses, the validity of women's voices, and the inherent feminism of the slasher.
"WHAT ARE YOU WILLING TO SACRIFICE?!!!!" "EVERYTHING!!!!!" This is but one of a multitude of highly emphatic questions, and subsequent answers, being asked in the newest feature film from one of the current masters of horror, Jordan Peele ("Get Out", "Us" and "Nope"). I must give Peele credit in that he continues to push the boundaries of specific genres and their associated tropes in order to provide what ends up amounting to subtly then jarringly intense, yet still character and story-driven, cinema that speaks more to indie stylings than mainstream.
