Mutter kommt in Fahrt 

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.

You can’t talk to my grandpa about The Sopranos. You can’t talk to him about The Godfather either. Merely by bringing up the subject, you’d be treated to a lecture on how movies and TV want you to believe that all Italians are criminals and mobsters. He won’t watch any of it, in protest.

This film manages to be simultaneously topical and timeless. Without being preachy, it highlights society’s flawed relationship with tech; insights into the complex ideas of family struggle are expertly dispersed among a perfectly paced and balanced story.

The second episode of the highly anticipated Afrofuturism series delivers with a high-speed race teaching us to go far beyond just accepting ourselves.

I am shocked and upset to report that the movie about a female car mechanic who meets the love of her life online featuring Katy O’Brien does not, in fact, have a lesbian storyline.

The concept of male fragility is explored (interestingly, by a male director) in The Sun Never Sets