Roger Corman, the Pope of Pop Cinema 

One of the great achievements of this film is its ability to challenge the mind and to force you to try to process information in a different way than you’re used to.

These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.

Ultimately the problem with The Bubble is that it plays everything for laughs to get around the audience’s defenses. But it comes off like a privileged white male thinking that ridiculing everyone else equally is the road to equality. And it’s not. And it's definitely not funny to pretend that it is.

Of the 28 total films I watched, just six of them were queer or featured queer characters in some way.

For anyone who is not a cis white woman, a justice-fueled murderous rampage is not framed as liberation. Instead, they contribute to harsh stereotypes that vilify minority women with dangerous consequences.

Hanna Bergholm's 'Hatching' shows us that the modern version of the cardboard world trope is social media.