New Dochinpira 

A decade since it aired, Shameless (U.S.) has always stuck to its guns (and baseball bats) about character diversity.

As one of the women said in the film, friendship in your teens is “as important as any lover” and it’s clear they lived that philosophy throughout their early adult lives as well.

The social issues The Half of it takes on are handled well, between the antagonization brought on to Ellie for her race and the conflict that arises from her being gay. Both aspects of her character are built up over the course of the film and don’t seem abrupt or rushed. The film shows racism towards Ellie and her and father in varying levels, from having her schoolmates specifically address her as "Chinese girl” to the fore mentioned way her Dad is treated due to language barriers. The same can be said about Ellie being a lesbian. While she never truly “comes out” in the narrative, that does not undermine her journey of self-discovery from being meaningful. These ideas aren’t thrust upon the viewer in a preachy manor, the scenarios that occur feel believable given the rural setting. The film presents watchers with problems whom those like Ellie may face, and leaves us to sit with them and reflect.

‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.

Its predictability shouldn’t distract from the enjoyment that the pure cinematic imagination behind the camera elicits. It is a movie of crises both moral and mortal, oozing with CGI, and thoroughly enjoyable.