During WWII, Dmitro Goritsvit, a partisan commander, fights against fascists and Barabolei in Ukraine, joined by villagers Marta, Ganusia, and injured Red Army commanders Savva Tur and Mikhail Sozinov.
In the film adaptation, director Jon M. Chu turns each musical number into a massive show stopper, with grand set pieces and a wealth of diverse dancers. Yet, in this attempt to show reverence for the people of the Washington Heights barrio, Chu, or maybe more specifically those in charge of casting, left out a crucial part of the community, Afro-Latinos.
This is a film that is going to leave some people bored, and some people thrilled.
I understand that this would have been consistent with the language used by that generation, due to its role in the medical profession, however as someone who has family members with Down Syndrome I took it very personally.
You've heard the phrase “If looks could kill,” but have you heard “If dancing could kill?” Pretty Lethal takes that idea and runs with it.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.
The assassins in Bullet Train are quirky, deadly, and diverse. Yet, they all seem to be some type of caricature. While the movie is fun and action-packed, it’s also packed with stereotypes that don’t make for the best representation.
