The End of “The End of Oak Street” is Oak Street
An attempt to capture nostalgia that unfortunately just doesn’t work

Incorporating the manic approach of The Monkees and the camp aesthetic of the 60s Batman TV series, this heist movie in drag is a laugh-riot from wigs to stilettos. Starring, Hedda Lettuce and Miss Understood as a pair of none-too-glam dragqueens, down on their luck and living the low life in New York City circa 1992. A not particularly bright scheme to reinvent themselves as Bonnie and Bunny, bank robbers in daring frocks, rockets them to fame and finally gives them enough cash to hire a posh, Eastern European, interior decorator, specializing in rococo. But all is not feather boas and sequins. The envy of Brenda, bitchy Morticia Adams clone, and Violet, a whip-wielding dominatrix, scheme to ruin the party.
An attempt to capture nostalgia that unfortunately just doesn’t work
The film illustrates the life of a single who struggles to provide an ideal childhood for her two daughters.
Despite its glaring flaws, First Girl I Loved is not entirely undeserving of a watch. For people who can handle the more difficult aspects of the story and graphic scenes, it is worth looking into. It’s not a film worthy of rewatch, but it may still resonate somewhat with those who need a story like this. It is a genuine, if flimsy attempt at a coming-of-age tale. Were the film to be directed by someone with experiences more similar to Anne, it would likely be more powerful--as it is, it feels like a man’s perspective of what it means to come to terms with your identity as a lesbian.
Director Martin Scorsese broadens his boundaries from mafia-driven movies, to a Buddhist biopic of the 14th Dalai Lama. While Buddhism strives for peace, ‘Kundun’ reveals the violence inflicted on Tibetan Buddhists and Scorsese’s depiction of violence does not stray away.
‘Bruiser’ is an intense drama that explores unresolved childhood trauma and how it can affect the people around us.
Yes, "Nope" is definitely about the modern obsession with turning tragedy and horror into a spectacle for people’s enjoyment. But it's also about the power of looking, who has the right to look, and what happens to those who are looked upon.