Carefree, coquettish, and capricious, Tamala is the cutest girl-cat in dystopian Cat Tokyo, year 2030—or at any other point in the time/space continuum. She has randomly invited herself along on her detective friend Michelangelo’s missing-person investigation. It seems the case is one of seven sudden vanishings in an astronomical pattern across Cat Japan that occurred at the exact same moment one night. Their search leads ever deeper into a mystery with ancient, occult roots and apocalyptic implications—and threads leading to Tamala herself. Shadowed by a covert agent of the Catty & Co. consortium, she may in fact be the greatest enigma. Indolent ingénue? Megacorporate mascot? Mythic messiah, or manifestation of cosmic malevolence? Anyhow, wow—she sure is a great dancer!
Complex relationships between mothers and daughters are far from a new concept, whether the strain comes from abandonment, beliefs, or trauma. In My Only Wish, an Incluvie Film Festival submission, Brenda Gutierrez’s take on her character’s maternal divide comes in the form of abandonment.
Malignant is a roller coaster ride of slow-build scares, moments of wonderfully absurd camp, and explorations of autonomy.
Given Hollywood's history of racism and financial motivations, how much progress can we expect? Plus: a list of excellent films by Black directors.
Another uneven "Guess Who's Coming to Dinner" redux that says nothing novel about its subject matter.
I first saw Dear Evan Hansen on the Broadway stage. Apparently, I was so blown away by the magic of theater that I didn’t pick up on the questionable dynamics. The story's clumsy handling in the movie brought those issues to light.
