A sleazy lawyer gains clients by showing up at terrible accidents. His boss, determined to stop him, hires a pretty girl to cozy up and coerce the truth out of the ambulance-chaser. Unfortunately, the boss doesn't count on the romance factor and sure enough, love blossoms between the girl and the shyster.
While the director didn't set out to make a feminist film, "A Girl Walks Home Alone At Night" reads as a reclamation of female power in a patriarchal society.
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.
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.
Hanna Bergholm's 'Hatching' shows us that the modern version of the cardboard world trope is social media.
The 'Hawkeye' season finale features all kinds of cool characters and resolves its loose plot threads efficiently, yet it's lacking when it comes to the vital development of its characters.
