“We Are Pat” (2025): Reclaiming a Controversial 90s Icon
Can a piece of bad representation truly be reclaimed? We Are Pat (2025) attempts to answer this question.

In 1948, a fan letter arrived for director Roberto Rossellini from Ingrid Bergman, one of Hollywood’s biggest stars; after a meeting in New York, Rossellini invited Bergman to Italy to work on a project. Meanwhile, Anna Magnani, one of Italy’s biggest stars and Rossellini’s longtime lover, was furious. When the Rossellini/Bergman project was announced as a tale set on Stromboli, one of the volcanic Aeolian Islands, Magnani quickly set up her own Aeolian project, financed by Hollywood, to be called Volcano. Italy’s tabloids simply went wild: the prospect of these two great divas battling it out with rival productions was breathlessly followed, especially as it became clear that the Rossellini/Bergman relationship was more than professional. Francesco Patierno has created an engrossing, revealing and highly entertaining chronicle of this cinematic battle royal.
Can a piece of bad representation truly be reclaimed? We Are Pat (2025) attempts to answer this question.
To say Hollywood has had a troubled past is the understatement of the century. In Ryan Murphy’s (American Horror Story) new Netflix series, Hollywood, that past is confronted and even rewritten.
Ripley is a great character because she serves two distinct, but rewarding, purposes in the original film and the sequel.
The movie behind the space toy from the 'Toy Story' film series is finally here.
Gritty and bleak are the best words to describe this film. There’s nothing happy about it.
The film didn’t have to be as long as it is. It just dragged on and on with scenes that had no substance. Every so often we get an action scene, and even those isn’t that fun.