The young baroness of Castle Rhede leads the quite ordinary life of a noblewoman. Her maid tends to her beauty with all sorts of poisonous cosmetics, and her mother ensures that she keeps her tiny waistline by serving very spartan meals. But one day, to her great horror, she finds herself trapped in a horrific situation. A very deep male voice, which apparently only she can hear, starts to dictate the fate of the castle—and predicts a grim end for the baroness.
As Andrew’s life begins to change, his passion for drumming soon becomes a spiraling obsession in the pursuit of perfection. Through the use of disturbing and abusive training methods, Fletcher puts Andrew through emotional and physical agony.
This live-action Barbie movie brings strong feminism and topics about blondes.
A trio of girls form a band and enter a singing competition together after learning they work best as a team.
There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.
In Amazon’s new shark flick, The Devil’s Mouth, terrible tourists finally get their comeuppance while two estranged best friends must overcome their petty squabbles to survive as the rest of their party gets chomped one by one. While it’s by no means an Oscar winner, The Devil’s Mouth is good old fashioned shark week carnage with a tourist critical twist, perfect with popcorn, a friend, and a healthy does of schadenfreude.
Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.
