Overtime Frightened 

It’s 2021 and what few LGBTQ+ films that are produced by major film studios continue to star cisgender heterosexual actors, rather than actual LGBTQ+ people.

On top of the phenomenal acting, and great dialogue between the two characters, the cinematography was ravishing! The sound was outstanding! The production design was simple, yet intrinsic. The minimalistic approach in the Malibu beach house represented how little they really have going on in their relationship. The storyline may have been much simpler than "Who's Afraid of Virginia Wolf,"  but all the more insightful, and much more animalistic at its core.

The plot could’ve really been interesting if the elements of lycanthropy was integrated with perhaps the struggle of identity of being LGBTQ+. It's an experience for so many that as they’re starting to realizing their true selves, they feel like a monster, especially if they come from unsupportive homes or communities. Instead, the horror and transformation elements seem thrown in without contemplation of how this could deepen the narrative.

Ultra-violent storytelling has never been my thing, but the issues with Scarface go beyond that. The film perpetuates harmful stereotypes about Latinx immigrants and uses gore and misogyny for shock value that never serves any purpose. The whole venture is frustratingly empty, and left me desiring something more.

This is not a film, it’s a drop tower.  A drop tower that you don’t get off of for the vast majority of its 106-minute runtime. 

In Paul Feig’s newest comedy, Last Christmas, Katarina (Emilia Clarke) didn’t give a heart, she got a heart, you see.