‘Fast Color’: A Strikingly Different Take on the Superhero Film - Movie Review
Set in a future dystopian United States in which water is running out, Julia Hart’s Fast Color (2018) is a refreshingly different take on the superhero film.

A middle-aged man struggling with self-esteem prepares for an Elvis impersonation performance, only to face his greatest fear when his mother shows up at the show.
Set in a future dystopian United States in which water is running out, Julia Hart’s Fast Color (2018) is a refreshingly different take on the superhero film.
America is the crux of the storyline: she is the only person in existence with the power to jump between universes. As central as America is to the Multiverse of Madness story, she somehow didn’t get that much to do.
The plot lags, the moral lessons are misguided, but are those fluffy little donut creatures adorable? Yes. Yes, they are.
We’ve always known that Edgar Wright is a mixologist when it comes to blending sound, light, colour, and texture. This is especially true in the first act of the film. In fact, all of my positive feedback is directed exclusively at the first act of this film.
True crime media is notoriously obsessed with the “missing white woman” trope, and yet the vast majority of American murder victims are male, and well over half are people of color.