It’s school picture day! And we all know what that means: awkward smiles into the camera and kids in their best looks trying to make their family proud. But Alex is stuck, go with the flow or break from convention?
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.
Bong Joon Ho’s masterpiece, Parasite (2019) became one of the few international films to break into the American mainstream.
With the theme of unemployment, it presents a family fantasy anecdote rather the a comment on social problems.
Netflix’s new rom-com, Voicemails for Isabelle (dir. Leah McKendrick), isn’t just heartwarming, funny, and an achievement in female directing - it’s also an instant classic. Following 20-something aspiring baker Jill (Zoey Deutch), Voicemails for Isabelle tells a story of grief, self-discovery, and fateful connections. Ever since her beloved sister Izzy’s (Ciara Bravo) death, Jill has been leaving her hilarious, extremely TMI voicemails about her chaotic love life and miserable day job as a prep cook. Little does she know that a handsome and unsatisfied real estate agent in her hometown has inherited the number and practically fallen in love with her by listening to her stories.
The one-way journey went to the desert that refused to offer an answer or a transcendence.
How do zombie films shine new light in the post-Covid and post-Brexit era?
