‘Thunderbolts*’—A Spark of Hope in Dark Times
After years of mediocrity, Thunderbolts* is the welcome change MCU fans were waiting for.

Writer and filmmaker Llorente’s homeland becomes the focus of a simmering drama played out amongst the beaches, squares and lush green mountains of this north-western province of Spain. The action follows Marta as she swaps her busy life in Madrid with boyfriend Leo for a trip back to her hometown for the summer. With naturalistic settings, minimal dialogue and lingering shots, the director highlights the contrast between real life and the carefree pace of the holidays. As the summer progresses, a relationship from her past causes confusion and she’s forced to choose between the innocence and freedom of her youth and the grown-up world with all its routines and responsibilities.
After years of mediocrity, Thunderbolts* is the welcome change MCU fans were waiting for.
Darren Aronofsky’s Caught Stealing is a gritty, darkly funny thrill ride through 1998 New York, with Austin Butler delivering a raw, magnetic turn as Hank Thompson—a washed-up ex-ballplayer turned bartender whose life implodes after cat-sitting for his punk neighbor drags him into a violent underworld of gangsters, crooked cops, and chaos. Brutal yet unexpectedly hilarious, the film blends noir grit with midnight-movie absurdity, proving Aronofsky can reinvent himself while Butler cements his status as a true movie star.
Two movies that do a fantastic job in conveying the ongoing struggle for racial justice are Selma (2014) and Just Mercy (2019).
The movie behind the space toy from the 'Toy Story' film series is finally here.
Clocking in at about four hours, Stranger Things season 4 volume 2 is the length of a double feature. Despite the length and the hype, the finale still falls short of expectations thanks to poor pacing, poor character choices, and poor diverse storytelling.
Welcome to the first episode of the Incluvie Movie Highlights! We shine a spotlight on our favorite new movies that stand out for diversity and identity. Is Everything Everywhere All at Once too weird, or just the right amount of weird?