A young society scion is hi-jacked by a couple of bandits who force him to drive them West.
The French-born director Laure de Clermont-Tonnerre’s strategic choice to entrust the interpretation of a conventional, feminine character to a non-binary actor pays off: Corrin’s Lady Chatterley is awkward, edgy, and uninhibited at the same time.
I’m still trying to comprehend the psychological and moral implications of their fascination with each other, or why their almost written-in-the-stars depth of connection makes so much sense.
A deer caught in the headlights is the perfect metaphor for Animals.
Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.
I highly recommend Dark Waters. It’s a highly engrossing picture, which lends itself to cautionary storytelling. The dark information continually grows, inspiring change and accountability altogether. Overall, Haynes’ picture will not be known for its inclusiveness--but it will be known for being a fantastic, engrossing film.
It’s not often in America that you turn on the TV and see a show or a movie with a Muslim protagonist. And when they do, they're usually a negative stereotype. Ms. Marvel changes all of that.
