Perry is a happily married father of two living a comfortable but sedate life in the suburbs. On the occasion of his 40th birthday, he seeks to revisit his former life as the lead singer in a popular punk band though his middle-aged reality quickly (and hilariously) clashes with the indulgences of his youth.
Disguised as a cosmic highway horror, Alexander Ullom’s It Ends is a beautiful, albeit terrifying, metaphor for learning that if you want to survive adulthood and become your own person, you have to learn to let people go.
The three themes of lessons learned from HBO Max's Station Eleven are the same as the pandemic: love, regret, and art.
Animation as a medium of storytelling can be thought to be open to all ages and as I hope my reading will reveal, 'Nimona' could be interpreted as a transgender story.
Netflix's Afterlife of the Party might fall into the rom-com genre, but it's much more about grief, strong female friendships, and platonic love than it is about romance.
These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.
The Invite is witty, dramatic, funny, and probably the best comedy released this year so far.
