The prosecuting attorney's impassioned address clinches the conviction of the criminal who, breaking away from his guard, viciously assaults the prosecutor but is finally quieted. At home, the attorney's wife reads a newspaper account of the affair and is greatly disturbed.
Overall, Lee Cronin’s The Mummy is plagued by numerous flaws, both from a quality and from a diversity standpoint. The film relies on gore and loud sounds to drown out its flat script, flatter dialogue, and one-dimensional characters.
A film for the post-MeToo era that inverts the narrative with an ironic coda, Tár depicts the duality of a sensitive artist capable of great evil and vile manipulation.
By having two of its most beloved characters go to space in a Pontiac Fiero attached to a rocket, among other antics, F9: The Fast Saga overwhelmingly achieves the task of out-crazy-ing its predecessors.
I Love You Forever, marketed as a “subversive” romantic comedy is in fact a painful horror film about a young woman deep in the throes of an abusive relationship.
In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.
