In Italy in the 90s, Zena, daughter of the Pope's doctor and granddaughter of a former fascist, is admitted to a reformatory, Villa Bianca, where deviances are “cured”, the last resort for the parents of Italian good society who wish to “repair” a rebellious generation. There, she meets and befriends three teenagers: a young nymphomaniac, Alfonso, a whimsical young man who intends to express his homosexuality, and Adriano, who has been mute since his mother's disappearance.
What can I say about this Will Ferrell/Julia Louis-Dreyfus-led “dramedy?” Well, the comedy part of Downhill is completely non-existent. And I should have known that the film was a flop when I walked into an empty theater at a prime time on a Friday night.
Mona Fastvold’s nineteenth century lesbian romance is emotionally charged, restrained, and poetic without feeling forced.
There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.
At first glance, one wouldn't think John Carpenter's cult classic would be a thematic double-billing - or that Free Guy would be worthy of being mentioned in the same sentence as They Live - but the two films of vastly different genres have more similarities upon further examination.
This horror movie combines elements of horror and babysitting with Black representation.
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.
