We see three pretty actresses in a surprisingly spacious and clean dressing room, backstage at a theatre. Their costumes indicate that the entertainment on offer here is something less than grand opera: one actress is dressed somewhat demurely, but another is in (by 1904 standards) a skimpy chorus-girl costume, whilst the third is dressed like the principal boy in a panto: fully covered, but in a form-fitting outfit that makes clear her feminine charms.
Some people’s first introduction to Mira Nair might be as New York mayor Zohran Mamdani’s mom. But with her insightful direction of 1991’s Mississippi Masala, Nair shows how much she deserves to be known as an artist. Delivering a nuanced portrait of a romance between a Black man and an Indian woman living in the South, Nair explores the complications each character faces, giving both equal weight.
As this critic continues to look back at some of this Summer's films I have taken in, I would be remiss if I didn't mention one of the most overall unsettling trends in Hollywood over the last several years.....sequels, reboots, and remakes. Look, I am all for seeing more than one film for certain originals that made a splash, ie: "Jurassic Park", "Pirates of the Caribbean", "Transformers", etc.
Overall, Lee Cronin’s The Mummy is plagued by numerous flaws, both from a quality and from a diversity standpoint. The film relies on gore and loud sounds to drown out its flat script, flatter dialogue, and one-dimensional characters.
What makes the lighting in Casablanca even more impressive is how it reflects the emotional states of the characters without needing explicit dialogue.
The message to take away from 'Causeway' is that toxic masculinity can manifest in anyone, no matter what their gender identity is.
Wuthering Heights— What is the cost of love?
