"In the Heights" Review
Lin-Manuel Miranda's Tony-winning musical translates beautifully to the screen.

A kino-investigation about spectatorship, a continuous conversation between different kinds of spectators: which one is more cinema: Citizen Kane on a mobile phone or a football game projected in a cinema theatre? What is the cinema of uncertainty? How many kinds of amazement exist? Does fear and belief precede amazement? What are the rights and duties of the spectator? Is the essay film a manifesto against voyeurism? Should spectators be paid? What amazes the spectator of this day and age?
Lin-Manuel Miranda's Tony-winning musical translates beautifully to the screen.
Emily Henry’s adaptation reaches romance movie standards, but not romance reader standards.
What seems like such a simple story of survival is so much more than that—it’s a story of family, and of war, and of destruction. It’s painful to watch, but not in a bad way. It makes its audience reflect on their own actions, and in how they are complicit in the sufferings of others as the adults in this film are. Grave of the Fireflies does not hold back from being heartbreaking, and it shouldn’t. It tells a message that needs to be heard decades after the war, and a story that cannot be forgotten by history.
'The Suicide Squad' is at its best when it focuses on its characters and commentary on real-life issues, but stumbles when it relies too heavily on gratuitous gore and insensitive humor.
'City of God' depicts the cylindrical cycle of violence that is forced upon the underprivileged.