A workaholic with no time for anybody suddenly find himself trapped in his office. Leaving work one night, he quickly discovers that he can’t find the front door. His phone stops working, and eventually disappears. None of the other phones in the office work. As time goes on, he starts to hear things and realizes he’s not alone in a place from which there is no escape.
Mr. Malcolm's List is a pleasant promenade through a fantasy Regency-era England filled with people of color. For fans of Bridgerton, this is the PG version of the show, but with completely colorblind casting and a much lighter tone.
Bong Joon Ho’s masterpiece, Parasite (2019) became one of the few international films to break into the American mainstream.
The trouble with Yara (2021) is that in its attempt to tell the whole story, it struggles to tell a consistently engaging story.
Shudder’s Host (not a particularly original title, I must say) attempts to bring the spooks to “the quarantine generation” by presenting us with a scary Zoom call during lockdown.
2026 ranks highest in Oscars history for its representation of minorities in all categories, and that’s definitely something to be celebrated.
For the entirety of Raiders of the Lost Ark, Marion remains in full control of both her body and her personality, a rarity for female characters at the time of the film’s release. She’s granted depth with personal demons from her past and emotional vulnerability when the situation deems it appropriate for her to grow alongside Indy. She avidly rejects the notion of being anything other than a sassy, humane rebel, and Indy’s equal in every way. This she does while still maintaining her femininity.
