Nightbeasts (2010)

Adam McKay might have been more concerned with cramming cameos than he was in this story which is a bloated criticism of the rich and famous… delivered unto us by the rich and famous. 

‘The Bear’ Season 2 has all the right ingredients for both comedy and drama.

Vicenza, a Brazilian girl, goes on a quest by herself to find out who her birth father is by gathering clues.

Outer Banks (2020-) knows its audience: young adults in a country that can’t stop romanticizing good ole’ treasure hunts. Add a little of Riverdale’s (2017-) sex appeal, and no one can look away. Forty years after The Goonies (1985) America’s consciousness hasn’t strayed from the same tropes: treasure hunts, a vulnerable white male lead, and the whitewashing of a racially segregated setting.

Dune has stunning visuals, a striking soundtrack, and great performances. But it has issues everywhere from its pacing, to its story, to its diverse representation.

With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.