Don’t Give Disney a Pat on the Back for Doing the Bare Minimum
Disney has cleverly managed to dance around the misdeeds of their past by scraping by with an insincere action that does very little to incite any long-lasting positive changes.

As a child he was kidnapped by gypsies that raised him, without he ever knowing his parents. As a young man Tonho leaves the gypsies and go live by himself, meeting in his way a beautiful woman, who lost her brother, and a dangerous gang of violent criminals.
Disney has cleverly managed to dance around the misdeeds of their past by scraping by with an insincere action that does very little to incite any long-lasting positive changes.
While it is more than established that Halston’s life is far from a fairytale, the narrative suffers as a result of the decision to revolve more around sex and drugs than his artistry, it likely does a disservice to his cultural impact by pulling focus from his achievements.
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.
The biggest highlight of the film is easily the performance of Andrew Garfield. In his days since hanging up his Spiderman suit, Garfield has routinely churned out great performances, and Mainstream is no exception. He proves that he is willing to try anything and go anywhere in a character.
A quiet film that does not demand your tears but earns them. It explores love that lingers, timing that fails, and the silence between what was and what could have been.