Guillermo del Toro's Pinocchio
During the rise of fascism in Mussolini's Italy, a wooden boy brought magically to life struggles to live up to his father's expectations.

New York homicide detective James D'Angelo discovers the connection between murders which seem ordinary and unrelated. Motive of those incidents are related with hate, race, sexual orientation, xenophobia and extremism. They all happened in haunted places at different periods of time. Investigation drags him into darkest corners of human nature. Haunted places -just like scarecrows- hide a bigger truth, beyond police work. The detective find himself as 'a crow' and figures out haunted places, hate, extreme thoughts and phobias are as scarecrows. Fear motivates people's acts, we're like crows. But who put these 'scarecrows / scare-humans' to our lives?
During the rise of fascism in Mussolini's Italy, a wooden boy brought magically to life struggles to live up to his father's expectations.
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.
Initially feeling like a passionate group having a bit of harmless fun with filmmaking, it leads to something sinister enough to leave a mark.
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.