Oddly enough for a Roach comedy the premise of MIXED NUTS is grounded in topical political satire aimed at the New Deal, although the satire is of a very lightweight (and light-hearted) nature. The film begins at a city council meeting where an unidentified politician announces that the government has released $50,000 for the relief of unemployed plumbers. This prompts applause, but also a pointed question from an angry woman who wants to know what the government is going to do for the members of her profession: chorus girls. The politician glibly replies that the administration has set aside money—two million dollars, no less!—for the re-education of chorus girls, "to fit them for the better things in life."
Unlike other documentaries about Princess Diana, Perkins’ film, 'The Princess', is an entire documentary consisting of media coverage and public opinion, rather than a typical series of people interviewed with firsthand experience of the Princess. 'The Princess' beautifully depicts how we perceive Diana as a media figure rather than a real person, specifically creating her persona as a fairytale figure turned saint and icon.
Like most young people, Leviticus is imperfect. But I love it anyways.
Disclosure Day asks us to question humanity's role in the universe but falls victim to the same assumptions of centrality.
Sorry to Bother You ultimately speaks to the unfair advantages that the country’s power structures award to those with the resources to control others, as Lift’s easy access to the media allows his opinion to be the only one that matters in the eyes of the unsuspecting and easily impressed public. Moreover, it reveals the extent to which the American Dream has any true validity. It postulates how the promise of success and fulfillment as promoted by the American Dream more often than not leads to the undoing of the individual. Interestingly, in its revealing of the American Dream as merely a facade, Sorry to Bother You wisely questions whether or not anything can really be done to undo a system that has been accepted and in action for centuries.
Netflix’s new rom-com, Voicemails for Isabelle (dir. Leah McKendrick), isn’t just heartwarming, funny, and an achievement in female directing - it’s also an instant classic. Following 20-something aspiring baker Jill (Zoey Deutch), Voicemails for Isabelle tells a story of grief, self-discovery, and fateful connections. Ever since her beloved sister Izzy’s (Ciara Bravo) death, Jill has been leaving her hilarious, extremely TMI voicemails about her chaotic love life and miserable day job as a prep cook. Little does she know that a handsome and unsatisfied real estate agent in her hometown has inherited the number and practically fallen in love with her by listening to her stories.
