Rita is a naive 18-year-old from the sticks who has come to Moscow to meet up with the man who impregnated her a few months earlier. Unfortunately, his name and address was written on a piece of paper in her luggage, which was promptly stolen upon her arrival in Moscow. Thus, she is a bit at loose ends, and going back home is clearly not an option.
Despite its aggressiveness, the Beef anthology series is about romantic love in all its forms. The final scene of the first season led us to believe that, despite the conflict, drama, and toxic traits, the main characters would end up together and, most likely, live happily ever after. The whole “beef” plot was the prelude to their love 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.
The film seems like an extreme interpretation of the conspiracy theorists that exist in real life. And then, there’s the twist.
When you think of the horror genre, the LGBTQ+ community is probably one of the last things you think of. However, horror is much more queer-coded than you may think.
Netflix’s new comedy drama, Don’t Say Good Luck, is a heartwarming tearjerker as well as a love letter to the transformative power of being a theater kid. Directed by Julia Hart, Don’t Say Good Luck follows Sophie (Sunny Sandler), a theater kid who finally gets the lead role in her school’s production of Waitress - just as she finds out her mom Elizabeth (Melanie Lynskey) is dying of cancer. While the singing is by no means spectacular and Sandler’s acting is stiff, the film is grounded in the moving performance of Lynskey as a mother who wants nothing more than for her daughter to achieve her dreams, even if she can’t be there to see them.
Some moments of the series are intense and ends on a cliff-hanger that will have you yearning for a second season.
