‘West Side Story’ (2021) Improves on and Is Limited by the Original
Steven Spielberg's West Side Story (2021) improves on the original's terrible representation, poorly written romance, and more. --> check out reviews & film summary

"Na-Nu, Na-Nu! " greets the always horny alien, Mork (Evan Stone) in Mork & Mindy: A Dream Zone Parody. Mork embarks on a XXX journey as he observes Earth's culture. While his superiors on the planet Ork want to hear about politics and economics, Mork prefers to learn about more exciting customs, like orgies, 69s, blowjobs and vibrators. Mork meets the perfect subject, Mindy (Chanel Preston), a hot, young girl with a mesmerizing rack. Though Mork can be frustrating, Mindy decides to help teach the wacky extraterrestrial about her world's greatest treasure - the female body. Dream Zone creates a XXX parody of one of Earth's most beloved TV classics, which is "kay-o" in Mork's book.
Steven Spielberg's West Side Story (2021) improves on the original's terrible representation, poorly written romance, and more. --> check out reviews & film summary
This is ambitious horror filmmaking, and in a lot of ways, I fully admire its ambitions. For me, the film’s sloppiness defines its overall quality.
What seems like such a simple story of survival is so much more than that—it’s a story of family, and of war, and of destruction. It’s painful to watch, but not in a bad way. It makes its audience reflect on their own actions, and in how they are complicit in the sufferings of others as the adults in this film are. Grave of the Fireflies does not hold back from being heartbreaking, and it shouldn’t. It tells a message that needs to be heard decades after the war, and a story that cannot be forgotten by history.
Netflix’s new mystery thriller, The Marked Woman (released originally as La Desconocida), is confusing. More critically, though, it commits the worst mistake a movie can make: it’s boring. From Spanish director Gabe Ibáñez, the film squanders its premise at every turn, fills the story with unlikeable characters, and lacks emotional payoff.
The “gay best friend”, an age-old trope, has been done in countless films and television series. Ranging from one-note (Sex and the City's Stanford and Mario) to nuanced (Unbreakable Kimmy Schmidt's Tituss), the gay best friend exists to support and advise the main protagonist, with their conflicts swept to the side.
In the film adaptation, director Jon M. Chu turns each musical number into a massive show stopper, with grand set pieces and a wealth of diverse dancers. Yet, in this attempt to show reverence for the people of the Washington Heights barrio, Chu, or maybe more specifically those in charge of casting, left out a crucial part of the community, Afro-Latinos.