Russian Doll Season 2: A Bit Late to the Party
The second season arrives over three years after its first. While late on arrival, most audience members will be happy.



with an anticipated $80 million for opening Labor Day weekend! Shang-Chi and the Legend of the Ten Rings that is. Why the filmmakers decided to make the title a mouthful is either marketing genius or incredibly obnoxious, perhaps both. Maybe if someone commits to saying the full title aloud a few times, they feel so invested from the elocution exercise that they then need to purchase a ticket to justify it. Psychology? I don’t know. In any case, Shang-Chi brings about SO MANY topics and themes to get into, even without the Marvel Cinematic Universe tie-ins. I’m not an expert Marvel fan, only a baby Marvel fan, so I’ll link in the MCU fun facts and sources accordingly.




Shang-Chi must confront the past he thought he left behind when he is drawn into the web of the mysterious Ten Rings organization.
The second season arrives over three years after its first. While late on arrival, most audience members will be happy.
The beating heart of this film is the relationship between Anna Osborne and Sonya Rockhouse.
"WHAT ARE YOU WILLING TO SACRIFICE?!!!!" "EVERYTHING!!!!!" This is but one of a multitude of highly emphatic questions, and subsequent answers, being asked in the newest feature film from one of the current masters of horror, Jordan Peele ("Get Out", "Us" and "Nope"). I must give Peele credit in that he continues to push the boundaries of specific genres and their associated tropes in order to provide what ends up amounting to subtly then jarringly intense, yet still character and story-driven, cinema that speaks more to indie stylings than mainstream.
The fun tricks used in the production design and lighting read extremely well on-screen but hardly fulfill their purpose of trying to inject glamour into a lack-luster story with nothing to say.
Alongside A Drowning Man, I Signed The Petition, 3 Logical Exits, and A World Not Ours, A Man Returned continues to paint a realistic portrait of the Refugee Crisis that eschews the Western gaze and stereotype. These are real portraits painted by a director with lived experience, cultural connection and an amazing eye for visuals.
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.