
The Penitent (1988) isn’t faith-affirming drama—it’s lurid exploitation mocking Catholic penitents. In a devout New Mexico/Mexico village reenacting Christ’s Passion (flagellation, crucifixion), jealous husband Ramon (Raúl Juliá) joins fanatical Penitentes while his virginal wife Celia falls for ex-con friend Juan (Armand Assante), sparking deadly love triangle amid rituals. Directed by Cliff Osmond, it sensationalizes "primitive brutal" self-mortification as barbaric cult, blending sex, betrayal, and gore—not exploring redemption or biblical penance. Secular gaze shames Hispanic Catholic traditions as repressed pathology. Cherry-picks extremism to caricature piety, ignoring healthy devotion. Obscure PG-13 thriller for grindhouse fans, not believers.
"Beef" is a new dark comedy with a near entire Asian-American cast
In 'Little Boxes," an interracial family moves to an all-white town where they face the judgement of others who have never been exposed to people of color before.
The biggest highlight of the film is easily the performance of Andrew Garfield. In his days since hanging up his Spiderman suit, Garfield has routinely churned out great performances, and Mainstream is no exception. He proves that he is willing to try anything and go anywhere in a character.
'Kobra Auto Retrato' chronicles the inspiring journey of Kobra, a world-renowned Brazilian muralist and street artist.
Halle's belting, crystal clear notes, and warm tone infused something into this blockbuster that I thoroughly enjoy.