Writing Great Villains: Why They Shouldn't Be Sympathetic
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.

In the middle of a landscape on the brink of extinction, a couple of mom and son trek into a native cave in order to recount their lifetime memories together. This personal portrait cuts deep into the vulnerable present moments of an ex-colonized nation which is transiting into the digital age. Told in the first-person perspective camera, this film also explores a new possibility of storytelling.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
“Nobody 2” is the kind of sequel you expect to roll your eyes at—and then end up grinning through the whole thing. Bob Odenkirk proves once again that an ordinary-looking guy can be the most entertaining action hero alive, battling cartels with harpoons, deep fryers, and pure chaos. Toss in Sharon Stone as a delightfully over-the-top villain, and you’ve got 89 minutes of wild, joyful mayhem that reminds you why going to the movies is just plain fun.
(Disclaimer: Harmful Language) In celebration of Pride Month, Father's Day, and father figures (and whoever supports you), I revisit Moonlight's brief but spectacular character, Juan. With overarching themes tied to masculinity, I reexamine his intimacy with Little.
In Saudi Arabia, a little girl (Wadjda) is told she can't have a bike because she's a girl. Wadjda struggles to obtain a bicycle to race her friend, Abdullah, due to the gender inequality and cultural norms of Saudi Arabia.
The fun tricks used in the production design and lighting read extremely well on-screen but hardly fulfill their purpose of trying to inject glamour into a lack-luster story with nothing to say.