Kicking off the Summer with 'Malibu Rescue'
A trouble-making teenager spends the summer working at a Southern California beach learning about responsibility.

In Our Nazi, we are plunged into a situation we barely, and only slowly, understand: the filming of Thomas Harlan’s experimental feature Wundkanal (1984), in which true-life ex-SS officer Alfred Filbert, now very old, is ‘put on trial’ for the camera, without him suspecting what is to come or why he is really there. Kramer’s confronting film is an essay about the sticky complicity of everyone present at this event, each bringing their own history, their own political ideology, their own desires to take revenge, to seek redemption or compassion, or just to put their heads down and ‘get the job done’ professionally, or (in the case of Filbert) to be a star, a part of the magnificent, magical, seductive world of cinema, even if it kills him.
A trouble-making teenager spends the summer working at a Southern California beach learning about responsibility.
Pressure is an unambiguously great movie, lead by convincing performances, a well-crafted script, good direction, and at least some social awareness.
The newest in a long line of Cinderella adaptations, Amazon’s Cinderella (2021) prizes girlbossification above the very story it tries to adapt.
It’s not often in America that you turn on the TV and see a show or a movie with a Muslim protagonist. And when they do, they're usually a negative stereotype. Ms. Marvel changes all of that.
This 2016 winner of an Ophir Award for Best Film focuses on the forbidden romance of a young, Bedouin woman and the ramifications it has for her family, her identity, and her culture.
Overall, 18 Presents feels more like a soap opera than a drama, and I feel bad for saying that since the concept is based off a tragic story (even though it’s loosely). I’m sure other people will find this film emotional for them, but as for me, it’s bland and forgettable.