Lycanimator 

‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.

With a quirky outline, Project Hail Mary stays within the bounds of human language and imperial fantasy.

Poor Black characters are usually surrounded by crime and violence, while poor White characters are portrayed as noble and hard-working.

The film didn’t have to be as long as it is. It just dragged on and on with scenes that had no substance. Every so often we get an action scene, and even those isn’t that fun.

Ruben Östlund muses about his characters, “As soon as you get close to a person, you see them as just another human being”. It is widely recognized that aboard the luxury yacht in ‘Triangle of Sadness’, the different groups of people represent a small society as a commentary on classism and gender binaries.

A direct fall into the white savior narrative