When a corporate raider threatens a hostile takeover of a 'mom and pop' company, the patriarch of the company enlists the help of his wife's attractive daughter—who is a lawyer—to stop the takeover. However, the raider soon becomes infatuated with her, and enjoys the legal manoeuvring as he tries to win her heart.
Most movies give you their point upfront, while others make you think it’s about a specific topic, then reveal that the story is about something else. Pink Lady belongs somewhere in the middle of those two categories.
American Fiction is a genuinely entertaining film with a few lessons.
Its predictability shouldn’t distract from the enjoyment that the pure cinematic imagination behind the camera elicits. It is a movie of crises both moral and mortal, oozing with CGI, and thoroughly enjoyable.
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 cultural insensitivity of 'Slumberland' is discreet, and can be easily overlooked in CGI extravaganza.
Disney has long since had a reputation for creating underwhelming sequels. Is Zootopia 2 any different?
