
Jamie Ewing is on the run: he’s stolen from his family, holed up in a hotel room, awaiting the arrival of his buyer. But when he’s locked out of his room, with his family hot on his tail, Jamie must confront what he’s been running from and ultimately choose what he truly values in his life.
It only seems to prove that when the company had their backs against the wall and needed an all pleasing, generic movie that had to make up for The Last Jedi, they chose to sacrifice almost everything that made their main protagonist interesting and that made her stand out as the strong female character that a generation of young movie goers was supposed to look up to. Instead, we were left with a Rey that was so much less than she could have been. And I guess that’s the real story of Rey and The Rise of Skywalker; they could have been so much more, but they were just more of the same.
When you don’t factor in the plethora of inferior sequels that have been produced, Luca is one of Pixar’s simplest and most unassuming films in years — and there is absolutely nothing wrong with that. The film thrives on being a visual feast with a warm message for all ages, so much so that its unoriginal storyline doesn’t feel that big of a problem.
It's not love. It's Obsession. The hook of this movie is the tension between wanting to be loved and the fear of being all-encompassed by that love. It plays on men’s typical (though certainly not universal) inner-conflict
She is being made to justify why she doesn’t believe he’s a feminist, instead of him having to justify his choice to claim he is one.
The story of the loss of innocence of the young prey who has been maimed by the predator. *Trigger Warning, sexual abuse and assault is discussed in this short film.