One evening, while her parents go out for dinner, 18-year-old Louise, alone in her hotel room at Taj Mahal Mumbai, hears strange noises out in the corridor. Within minutes, she realises that a terrorist attack is underway. Her only connection to the outside world is her cell phone, which allows her to maintain contact with her father, who is desperately trying to reach her from the other side of a city that has been plunged into chaos. Louise must spend a long night alone in the face of danger. She will never be the same again.
One of THE most frustrating trends in the mainstream film industry over the last several decades has been the onset of comedy efforts that seem SO focused on being crude and/or gross-out in all ways possible. That, at least for me, makes them no longer funny.
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.
In Stowaway, director Joe Penna narrates the story of a starship crew (Anna Kendrick as Zoe Levenson; Toni Collette as Marina Barnett; and Daniel Dae Kim as David Kim) struggling with serious technical problems on a two-year mission to Mars. During the trip, they discover aboard the presence of Michael (Shamier Anderson), a stowaway who jeopardizes everyone’s life on board.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.
People are so much deeper and far more extraordinary than what gender they were assigned at birth.
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.
