“Driveways”
"Driveways" is a nuanced portrait of an Asian American family, touching on themes of loss, growth, and belonging.

THERE ARE MERMAIDS IN LA follows Cassie. Bored of her relationship. Having mediocre orgasms. Trying desperately to reupholster a lamp because why not? “It might be the first step towards sewing patchy jeans or something.” But one day Cassie’s boat is rocked by a mysterious silent visitor. A woman. With long, fire-engine red hair and almost no discernible personality or clothes. We’ll call her Mermaid. Because, as the legend goes, she made a bad trade somewhere down the line, swapped her voice out for legs, and then wound up in the wrong place. The place being this woman's beach... RIP the prince. As Mermaid makes herself comfortable in Cassie’s home, the two women begin to form an unlikely bond. The game is simple: Cassie talks and Mermaid listens. Until they both get sick of it.
"Driveways" is a nuanced portrait of an Asian American family, touching on themes of loss, growth, and belonging.
If “Good Time” was a lean exercise in suspense, “Uncut Gems” is an ongoing panic attack. It handcuffs us to an immoral man, made up of selfishness and unreliability. At every point, Adam Sandler connects himself to this idiotic soul, unearthing the misguided opportunism that comes with gambling addiction
I came across Urchin by chance and decided to watch it because of the title. It made me think of the spiky animal that lives at the bottom of the ocean, and the old Dickensian novels, where an urchin was an orphaned, homeless child in shaggy and dirty clothes.
A reboot series based on the popular original Nick teen sitcom of the same name.
"WHAT ARE YOU WILLING TO SACRIFICE?!!!!" "EVERYTHING!!!!!" This is but one of a multitude of highly emphatic questions, and subsequent answers, being asked in the newest feature film from one of the current masters of horror, Jordan Peele ("Get Out", "Us" and "Nope"). I must give Peele credit in that he continues to push the boundaries of specific genres and their associated tropes in order to provide what ends up amounting to subtly then jarringly intense, yet still character and story-driven, cinema that speaks more to indie stylings than mainstream.
A Black woman centered in a box office rom-com with a happy ending and no struggle love.