In 16th century Japan, a young man has to choose between becoming a master steel maker like his father and grandfather before him, or becoming a samurai so that he can help protect his village from attacks by the various clans which want the high-quality steel made there.
Through its morbidly humorous storytelling, Wednesday tells a tale of a world divided that explores the manifestation of generational trauma in its protagonist Wednesday Addams.
Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.
Overall, Lee Cronin’s The Mummy is plagued by numerous flaws, both from a quality and from a diversity standpoint. The film relies on gore and loud sounds to drown out its flat script, flatter dialogue, and one-dimensional characters.
Movies also have the ability to make the audience think deeper about an issue that plagues society. "Blindspotting" does that without shying away from the intense reality of police brutality and racial discrimination.
In all actuality, “Just Mercy” should be labeled a “wall punching narrative.” Constantly, the flick throws high forms of adversity our way, amping up our most inner levels of discomfort. Filmmaker Destin Daniel Cretton wonderfully paces the film in such a way that replicates the slow-burn nature of justice.
