Yazdan, a man in his mid thirties, is the only family his grandmother has. Her eyesight and hearing are fading, she lives with Alzheimer’s, and she refuses to leave the apartment she no longer fully recognizes. When Israeli airstrikes reach Tehran and her caretaker flees the city, Yazdan remains behind as her sole companion, bound to someone who has no idea there is a war going on outside. Inside the apartment, distant explosions and fragments of television broadcasts intrude, yet their shared reality divides: for her, nothing has changed; for him, everything has. What unfolds is not a story of conflict but of perception – an intimate portrait of love, absence, and the fragile boundary between remembering and forgetting.
Apatow’s latest film, The King of Staten Island, is no different. The movie tells the story of Scott (Pete Davidson), the 24-year-old son of a deceased firefighter who passed away when Scott was 7
'Hawkeye' episode five features Clint facing his sins, Kate having dinner with an assassin, and the reveal of the long-awaited [SPOILER].
If you are a discerning movie watcher and/or an African-American with a modicum of Black consciousness, this film isn’t for you. It would be better to watch the documentary ‘They Fight’ to see the impactful, emotional story of Walter Manigan and the young men of DC’s Ward 8.
At first glance, one wouldn't think John Carpenter's cult classic would be a thematic double-billing - or that Free Guy would be worthy of being mentioned in the same sentence as They Live - but the two films of vastly different genres have more similarities upon further examination.
Gritty and bleak are the best words to describe this film. There’s nothing happy about it.
The film follows the biblical story of Moses, from his time as a prince of Egypt, to a leader for the people of Israel. It’s a film that works brilliantly in animation, and is one that both children and adults can; enjoy despite its religious contexts, it is friendly to general audiences.
