"In memoriam. Man in pieces. You have the lovers, remade by funhouse mirrors; you have the symmetries, undone, bent and curved; and you have the model, the bag on her head filling with carbon dioxide. Who owns your life? Testimonial and demonstration, a most ominous trade show. An experiment in therapeutic cinema. A speculative sequel and conclusion to John Hofsess's Palace of Pleasure (1967)." — S.B.
My Beautiful Laundrette is often referenced as a positive LGBTQIA+ film because our two main characters are in a homosexual relationship with no shame, fear of violence or criticism. The struggle is not their sexuality. It is the treatment of the Pakistani citizens in England.
The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.
An analysis on how the Garfield movie fails to represent the characters it is adapting, especially the women, by removing their best characteristics.
It was always people for Joe, and he ultimately found them at the end of a long, painful, yet illuminating quest for self-discovery outside of one, confident constant - his bisexuality.
'Easy A' is emblematic of a world that liked to sarcastically pretend it was progressive but wasn’t actually ready for that change, making it pretty anti-sex.
There is no aspect of this film that falls short, except perhaps in minor ways.
