Beautiful "Materialists" Can't Quite Find Its Footing
It is a truth universally acknowledged that a single woman will be happiest if she marries a man with a good fortune, similar upbringing, matching attractiveness levels, and compatible politics.

"Whereas SQUARE INCH FIELD was composed largely in the camera, Rimmer's next film, MIGRATION, made full use of rear-projection rephotography, stop-framing, and slow motion. The migration of the title is interpreted as the flight of a ghost bird through aeons of space/time, through the micro-macro universe, through a myriad of complex realities. A seagull is seen flying gracefully in slow motion against a grainy green sky; suddenly the frame stops, warps and burns, as though caught in the gate of the projector. Now begins an alternation of fast and slow sequences in which the bird flies through time-lapse clouds and fog and, in a stroboscopic crescendo, hurtles into the sun's corona. Successive movements of the film develop rhythmic, organic counterpoints in which cosmic transformations send jelly fish into the sky and ocean waves into the sun." - Gene Youngblood. Preserved by the Academy Film Archive in 2014.
It is a truth universally acknowledged that a single woman will be happiest if she marries a man with a good fortune, similar upbringing, matching attractiveness levels, and compatible politics.
What can I say about this Will Ferrell/Julia Louis-Dreyfus-led “dramedy?” Well, the comedy part of Downhill is completely non-existent. And I should have known that the film was a flop when I walked into an empty theater at a prime time on a Friday night.
Despite being an over-talked-about piece of media, 'Euphoria' has some interesting articles about it with personal angles that oppose the average tendency to be generic.
If you've watched 'Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles', you are either someone who believes “nothing happens” in this three and half-hour film or you’re like me who believes everything happens.
The venn diagram of pop feminism and white-centered feminism is a circle. Acknowledging that is not a crime nor a diminishing of 'Barbie', Director Gerwig, or feminism in general.
Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.