The Immortal Vagabond 

Hitchcock is no stranger to innuendo, as was common in that era, but there was something so sophisticated about his approach to 'Rope', and it starts in the first frame.

America is the crux of the storyline: she is the only person in existence with the power to jump between universes. As central as America is to the Multiverse of Madness story, she somehow didn’t get that much to do.

“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.

The film is a simple love story reminiscent of stories like The Notebook released in 2004. Sylvie and Robert are rarely actually together in the film, however; time and circumstance keep them away from each other, and the audience waits with bated breath to see them find one another over and over.

Gretel & Hansel falters due to its razor thin story and lack of characterization. It loses sight of horror’s key rule: In order to create an effective tale, characters and emotions must be emphasized.

Where we leave the characters is in such a peaceful and optimistic place. It feels well-earned to ensure everyone gets their own specially-crafted happy ending.