
An underpaid hitman roams the streets of Paris leading up to and following a job, meditating on his guilty conscience.
The sequel following The Son of Bigfoot explores Adam's conflict of discovering his true identity as he tries to save a wildlife preserve.
The problem isn’t that it’s bad. It's good. But it fails to stand out from a crowd of similar films.
Netflix’s new comedy drama, Don’t Say Good Luck, is a heartwarming tearjerker as well as a love letter to the transformative power of being a theater kid. Directed by Julia Hart, Don’t Say Good Luck follows Sophie (Sunny Sandler), a theater kid who finally gets the lead role in her school’s production of Waitress - just as she finds out her mom Elizabeth (Melanie Lynskey) is dying of cancer. While the singing is by no means spectacular and Sandler’s acting is stiff, the film is grounded in the moving performance of Lynskey as a mother who wants nothing more than for her daughter to achieve her dreams, even if she can’t be there to see them.
How closely should film adaptations follow their source material? Let's take a deep dive into "Norma Rae", and find out.