Once Upon a Time in (White) Hollywood
Tarantino's alternative history of the 1960's uncritically repeats the era's sexist and racist stereotypes.

When he is told that he is to spend three more years as a tailgunner, goofball GI Herbert Pumice thinks that a promotion--which he has little to no chance of getting--will get him out of the job he hates. He asks his girlfriend Sally, who owns the base café, for help. She goes to the base commander, Col. Baker--who she knows has a crush on her--to help out Herbert. Col. Baker schedules a promotion hearing for Herbert that Friday. He naturally fails it miserably, and then learns that Col. Baker is going out on a date with Sally. Meanwhile, the base military intelligence officer discovers that Herbert is a dead-ringer for the head of a spy ring intending to sabotage a new automated plane, and gets Herbert assigned to infiltrate the gang. Complications ensue.
Tarantino's alternative history of the 1960's uncritically repeats the era's sexist and racist stereotypes.
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.
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Netflix’s recent Millie Bobby Brown vehicle, Enola Holmes 3, is a disappointing and confusing entry in the stellar Enola Holmes franchise. Directed by Philip Barantini, the film stars Brown as Enola Holmes, estranged sister of Sherlock Holmes, Henry Cavill as Sherlock Holmes, and Louis Partridge as her love interest, Viscount Tewkesbury. While it deserves credit for its exciting action scenes and attempts to expand the diversity of its Dickensian setting, the most recent entry in the series completely scuttles Enola’s underdog status from the first films that made her so charming and gave a touch of realism to the story of a young, unmarried woman living in London while self-employed as a detective.