‘Kim’s Convenience’: A Canadian Export Better Than Maple Syrup
Korean culture shines in this Canadian export.

Yumi worked at a small snack bar called Bacchus, tucked away in a corner of the city. Before long, she had gathered her own entourage—three men named Takeshi, Ken, and Toru. Convinced that the true essence of youth lay in taking risks, Yumi’s boyfriend, Takeshi, dreamed of taking the helm of a yacht and sailing off to unknown lands. Ken, a factory worker from a small-town workshop, fantasized about creating a guerrilla radio station that played nothing but the new rock sounds—the shared language of youth. Meanwhile, Toru, a college student who proudly styled himself as a revolutionary. The trio began saving money as if to make their dreams tangible. They entered an endurance contest but they were eliminated. With a goal of raising 3 million yen by the following summer, their prospects looked bleak. In the days that followed, each arrived at the same conclusion: they could exploit Yumi’s exceptional beauty and striking sexy physique by launching an alluring honey-trap scheme.
Korean culture shines in this Canadian export.
You can’t talk to my grandpa about The Sopranos. You can’t talk to him about The Godfather either. Merely by bringing up the subject, you’d be treated to a lecture on how movies and TV want you to believe that all Italians are criminals and mobsters. He won’t watch any of it, in protest.
Deborah (Jean Smart) and Ava (Hannah Einbinder) are a delight to watch evolve, sometimes devolve, then evolve again.
John Walker is named the new Captain America and The Flagsmashers run amok.
In the shadow of towering film production companies lived dozens of grindhouses, genres, and low-budget films deemed too “unclean” for the modern film audience.