The coming of age summer-camp saga of four best friends who hate each other.
When it comes the horror genre, I am VERY hard to please or impress, much less scare. Coming from a current mindset of appreciation for chilling, unsettling, tension-inducing efforts such as "Hereditary", "The Conjuring" (ONLY the first one to date, mind you), "Lights Out", "The Babadook", "Midsommar", "Talk To Me", "Oddity", "Bring Her Back", and the like
Portraying how easy it is to be an ally heavily benefits the majority audience. The more we encourage it, normalize it, and give people the tools to become one, the sooner we can co-exist peacefully.
Hiring bias is something that's rampant in all industries (even unconscious bias). But writing a script totally neutral not only opens the door for more diverse actors, but also for characters that are people first.
The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.
Apparently, nothing's ever enough. It has its flaws, but does that warrant the amount of criticism 'Barbie' is subject to?
Miss You, Love You brings together two people who were meant to find each other at that moment in their lives.
