SACRA 

April, a professional dancer, reluctantly trains a group of girls at a dance school for the dance competition.

Overall, Lee Cronin’s The Mummy is plagued by numerous flaws, both from a quality and from a diversity standpoint.  The film relies on gore and loud sounds to drown out its flat script, flatter dialogue, and one-dimensional characters. 

It doesn’t offer an absolute answer for the dialectical ethical questions that emerged in search of justice but portrays the characters as living people beyond the identities of victims.

The 1950s lesbian romance is stunning, emotional, restrained, and, simply put, one of the best movies I’ve ever seen depicting a woman-loving-woman (WLW) relationship.

Mona Fastvold’s nineteenth century lesbian romance is emotionally charged, restrained, and poetic without feeling forced.

At least we got the original cast back, right? Not even that saves it. None of them could bring a sliver of hope to this special. Rather, they bring dread as we witness the light leaving from their eyes.