Reflecting on 'The United States vs. Billie Holiday'
Lee Daniels’s Billie Holiday biopic The United States vs. Billie Holiday was released on February 26th, 2021, and my immediate reaction to it was one of discomfort.

Dough-crazed mercenaries Sammy and Klaus are on a mission to escort the seriously ill prime minister of a South American country that has just been taken over by the rebels to his buddies over the border. Chased by the rebels, and with the politician's health rapidly deteriorating, they stumble onto an infirmary staffed by a quartet of nurses and take them hostage, forcing them to cure the prime minister, and fast. After an initial rape, romantic feelings begin to emerge as Helga has it off with Klaus, Katrin with Sammy, and Sophie with Hellen...until a squadron of rebels drops in.
Lee Daniels’s Billie Holiday biopic The United States vs. Billie Holiday was released on February 26th, 2021, and my immediate reaction to it was one of discomfort.
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.
With such a raw look at the 15th century, it seems that Disney was really trying to step outside of its element with this motion picture.
Tarantino's alternative history of the 1960's uncritically repeats the era's sexist and racist stereotypes.
Throughout the film, Kate desperately tries keeping her status as an influential YouTuber; however, her follower and view count crumble, mirroring the world around her.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.