A pub landlord in a previously thriving mining community struggles to hold onto his pub. Meanwhile, tensions rise in the town when Syrian refugees are placed in the empty houses in the community.
Ultimately the problem with The Bubble is that it plays everything for laughs to get around the audience’s defenses. But it comes off like a privileged white male thinking that ridiculing everyone else equally is the road to equality. And it’s not. And it's definitely not funny to pretend that it is.
Sinister and suffocating, 2022's The Black Phone delivered more than just scares - it brought atmosphere, depth, and a villain audiences won't soon forget.
The height of subversive horror cinema is Jennifer’s Body. No, I will never budge on that. Yes, Cabin in The Woods is funny, Scream is very well made, and the Scary Movie franchise is …. there. But nothing is quite as satisfying as watching the teenage succubus that is Jennifer Check rip apart boys. In the post #metoo era where the industry is far from changed, watching revenge flicks like these is probably one of the most cathartic experiences due to the slow-moving progress being made.
Netflix's Afterlife of the Party might fall into the rom-com genre, but it's much more about grief, strong female friendships, and platonic love than it is about romance.
Outer Banks (2020-) knows its audience: young adults in a country that can’t stop romanticizing good ole’ treasure hunts. Add a little of Riverdale’s (2017-) sex appeal, and no one can look away. Forty years after The Goonies (1985) America’s consciousness hasn’t strayed from the same tropes: treasure hunts, a vulnerable white male lead, and the whitewashing of a racially segregated setting.
The live-action remake brings adventure and shows viewers why representation is important in a Disney Princess movie.
