In 1999 a boy becomes obsessed with the Y2K bug; In the distant future a girl is learning to be a priest in a religion based upon the ‘artefacts’ left behind by the boy. The Year 2000 was simultaneously the beginning of the future, and the end of world.
Marcel the Shell with Shoes On is the most human movie of the year. It is based on the 2010 short of the same name that follows a big-hearted, little shell named Marcel as he navigates through life in a human-sized world.
In all actuality, “Just Mercy” should be labeled a “wall punching narrative.” Constantly, the flick throws high forms of adversity our way, amping up our most inner levels of discomfort. Filmmaker Destin Daniel Cretton wonderfully paces the film in such a way that replicates the slow-burn nature of justice.
Diana’s spirit has taken off, ‘No right, no wrong, no rules for me.’ And in that moment, as she runs on the screen, she gets it, her ‘Let It Go’ moment.
White audiences saw Peola’s mixed-race passing as a Black woman’s struggle to be white. Black audiences saw it as the rebellion of a Black woman trying to gain privileges only given to white people.
Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.
The French-born director Laure de Clermont-Tonnerre’s strategic choice to entrust the interpretation of a conventional, feminine character to a non-binary actor pays off: Corrin’s Lady Chatterley is awkward, edgy, and uninhibited at the same time.
