Pascale leads a lonely life with her adult sons François and Thierry at a rural estate subsidized by her ex-husband's alimony payments. When Pascale falls for neighbor Jan, she makes plans to move in with him. But Pascale's twin sons -- loafers who treat her like a servant and refuse to accept the responsibilities of adulthood -- won't let her go. The family remains locked in a stalemate until someone makes a startling move.
We, the Jane Austen aficionados, are suckers for everything and anything under the sun that’s remotely related to her and her world. That’s because we are so drawn to her unique style of fiction, romance, and social commentary, we take any allusion to her influence as a hint to what to expect when we start watching a movie or reading a book.
Another uneven "Guess Who's Coming to Dinner" redux that says nothing novel about its subject matter.
This is not a story of oppression but a story of liberation.
The height of subversive horror cinema is Jennifer’s Body. No, I will never budge on that. Yes, Cabin in The Woods is funny, Scream is very well made, and the Scary Movie franchise is …. there. But nothing is quite as satisfying as watching the teenage succubus that is Jennifer Check rip apart boys. In the post #metoo era where the industry is far from changed, watching revenge flicks like these is probably one of the most cathartic experiences due to the slow-moving progress being made.
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.
(Disclaimer: Harmful Language) In celebration of Pride Month, Father's Day, and father figures (and whoever supports you), I revisit Moonlight's brief but spectacular character, Juan. With overarching themes tied to masculinity, I reexamine his intimacy with Little.
