Monster (2023): When the Truth Is Not in the Telling but in the Seeing
Not every silence is empty. Some are filled with things too heavy for words.

Lilly is a makeup and FX influencer hoping to expand her audience by live-streaming from a notoriously haunted house. She gets more than she bargained for when her investigation awakes the enity that resides there putting her and her viewers in real trouble.
Not every silence is empty. Some are filled with things too heavy for words.
Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.
Mirrorball is full of passion and love for the medium of cinema and is indeed a fitting love letter to La La Land.
We are incredibly blessed that this movie is available for us to see, and we should take advantage of the opportunity we’ve been given.
A Girl Walks Home Alone At Night, though its feminism may be unintentional, cannot exist without its focus on women reclaiming power. The movie is feminist by definition, even if Amirpour didn’t write it with that in mind. A Girl Walks Home Alone At Night is mesmerizing, poetic, and stunning, both for its portrayal of feminist ideas and its powerful story that is both horrific and subtly romantic at once.
Taika Waititi and the cast of Thor: Love and Thunder have been hyping up the gayness of this movie, and while there are queer characters, it's not quite the representation we were hoping for.