'Easy A' Is Pretty Anti Sex
'Easy A' is emblematic of a world that liked to sarcastically pretend it was progressive but wasn’t actually ready for that change, making it pretty anti-sex.

Famous New Yorkers and the pooches they love are the focus of this refreshingly honest and endearing series of interviews that celebrates the meaningful connections people share with their pups. Gossip columnist Cindy Adams, playwright Edward Albee, designer Isaac Mizrahi, and actors Glenn Close, Edie Falco and Richard Gere are among the many celebs who pay tribute to their beloved canine companions.
'Easy A' is emblematic of a world that liked to sarcastically pretend it was progressive but wasn’t actually ready for that change, making it pretty anti-sex.
Seven years after George Miller's previous film, 'Mad Max: Fury Road', he dives back into the scene with an equally daring movie. Although not nearly as action-packed, his newest film 'Three Thousand Years Of Longing' challenges the typical format of a film, giving you a well-known plot in an unexpected way.
A homeless girl faces depression and uncertainty during the holidays.
It’s easy to dismiss Joel and Ethan Coen for writing from the world they build from outside the box of overarching Hollywood stereotypes, but their inability to compromise their collective vision is precisely what makes the simplistic nature of their world-building and characters so brilliant. It’s also what led Fargo to collect seven Oscar nominations and two wins for Best Original Screenplay and Best Actress for Frances McDormand’s brilliant portrayal of the sincere, motherly detective whose wholesome demeanor seizes the day over the selfishness, corruption and evil of the men who don’t comprehend that there’s more to life than a little money.
Set in a future dystopian United States in which water is running out, Julia Hart’s Fast Color (2018) is a refreshingly different take on the superhero film.
I understood post-memory as passing down stories and images of one’s experiences that are not your own. For decades, rape has been depicted in cinema through a third-person perspective, leaving the viewer to observe rape; not to experience it.