Against the wishes and advice of friends and relatives, Chul-soo and Young-hui get married. They start their life together but because of their inability to communicate, their marriage falls apart and ends in divorce. Friends help them find a two-story house to live in. Chul soo takes the upstairs and Young-hui, the downstairs. From that moment there is constant interference and jealousy between the two. Young-hui eventually brings a man home to make Chul-soo jealous, which it does, even though he no longer has right to interfere in her life.
We, the Jane Austen aficionados, are suckers for everything and anything under the sun that’s remotely related to her and her world. That’s because we are so drawn to her unique style of fiction, romance, and social commentary, we take any allusion to her influence as a hint to what to expect when we start watching a movie or reading a book.
The newest in a long line of Cinderella adaptations, Amazon’s Cinderella (2021) prizes girlbossification above the very story it tries to adapt.
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.
It: Welcome to Derry proves you can have rich representation, real humanity, and still fully enjoy Pennywise terrifying kids in sewers.
As an extremely avid fan of DC’s animation, I’ve become familiar with the way the studio uses Batman as a bit of a Trojan Horse to introduce some of their lesser known characters.
If you mix religious rituals with dark mythology, the result will be effective, and the story powerful in 90% of the cases. That is exactly what happens at the beginning of The Vigil.
