A series of murders has been committed by someone with a new model gun, a Mord-Gessel X 38. Indeed, Daisuke himself is almost killed while investigating the case. This occurred while he was with Ritsuko, daughter of a company president. Detective Kimura thinks that the president himself, returned to Japan after an absence of fifteen years, might be the killer, or at least the man who supplied the gun. Ritsuko's father limps and though she explains this as the result of a traffic accident, Kimura remembers a narcotics smuggler named Suginami who shot himself in the ankle and then escaped from the hospital. He believes that the company president and the drug peddler are the same.
The character of Mulan is one of Disney’s best heroines. She’s brave, kicks butt, and has a kill count. What other Disney character has killed hundreds of Huns by crushing them with an avalanche? No one.
These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.
The Outer Senshi get characterization and some stellar moments in the second part of the Eternal movie duo.
This HBO mini-series asks why a young white man turned to violence and finds no easy answers. But why do we only ask questions about certain kinds of killers?
Madres takes place in the 70’s following a Hispanic married couple who move to a migrant farming community. Diana, who is pregnant, starts to become suspicious of their new environment after she and the women around her develop strange symptoms. Could it be a curse, a sickness, or something else?
Dead Poets Society relies on patriarchal tropes such as overbearing fathers, contrived brotherhood, and faux-individuality in order to portray its straight white male characters as oppressed.
