Mérida, Tiempo y Naufragio. 

American Fiction is a genuinely entertaining film with a few lessons.

Dracula evolved from a person to a monster and then from a monster to a person.

The assassins in Bullet Train are quirky, deadly, and diverse. Yet, they all seem to be some type of caricature. While the movie is fun and action-packed, it’s also packed with stereotypes that don’t make for the best representation. 

Emily Henry’s adaptation reaches romance movie standards, but not romance reader standards.

The 1950s lesbian romance is stunning, emotional, restrained, and, simply put, one of the best movies I’ve ever seen depicting a woman-loving-woman (WLW) relationship.

These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.