Two powerful, yet deeply troubled women -- refugees from political and personal trauma -- flee a past that haunts them. The daughter of a murdered Black Panther revolutionary, Tess, (Hamilton) lives off the grid on a Sonoma vineyard, fiercely detached from all connections. Her hermetic life cracks when she gives reluctant shelter to a desperate young woman, Anna (Rabe) who has attempted suicide in a nearby forest. An unlikely alliance forms between the two, where other close relationships have failed -- David, Anna's husband, (Linklater) and John, Tess' employer (Weber), cannot break through their walls. But the very difference between the two women opens them up to a new vision of themselves, as not only survivors, but as heroes capable even of a thrilling shoot-out in the name of outlaw justice. Reclaiming freedom, and life, they plunge forward, towards an unknown, transformative horizon.
Overall, Matthias & Maxime doesn't reinvent this romantic concept. But it also doesn't need to. Dolan weaves a story of love, friendship, and life that is both realistic and bittersweet. The film is nuanced and sensual in a way we don't get to see often with LGBTQ characters. It's a film that we can celebrate.
Making Apes begins by looking back at the history of makeup effects in Hollywood, which was revolutionized by Jack Pierce, the person behind Frankenstein (1931) and The Wolf Man (1941)
My review’s title is a nod to Shakespeare and is entirely deliberate. The original movie portrayed the high-end fashion world as a brutal arena of plotting, backstabbing, and betrayal, and most Shakespeare’s plays depend on these plot devices. The Devil Wears Prada 2 uses the same formula, and is, plot-wise, almost identical. Once again, we plunge into the cutthroat world of Runway, where to get and stay at the top, you must let go of your principles and moral sense. The only thing different is that due to the digital era, Runway is not a print magazine anymore, but one that is running online.
