The Grainy Landscape, Worn-Out Household, and Remembering the Past in 28 Years Later
How do zombie films shine new light in the post-Covid and post-Brexit era?

“There’s No Werewolves in Newark” follows a disillusioned EMT on the day he quits his job in Newark, NJ. He finds himself entangled in a wild adventure when he takes on a mysterious Craigslist gig, only to discover his employer's explosive secret - she is a werewolf. As he navigates the chaos, he grapples with personal loss and a newfound perspective on life while questioning the supernatural happenings in his city.
How do zombie films shine new light in the post-Covid and post-Brexit era?
Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.
"Thunder Road" presents the grief that comes from a family member taking their own life.
A 2020 Japanese anime movie that focuses on a high school girl who is desperately in love with her secret crush.
In Spike Lee’s She’s Gotta Have It (1986), we follow the love life of powerful female protagonist Nola Darling (Tracy Camilla Johns) and explore the relationship dynamics she has with her partners. She sees three men simultaneously: Greer Childs, (John Canada Terrell) Mars Blackmon (Spike Lee), and Jamie Overstreet (Tommy Redmond Hicks). Though an 80’s film, She’s Gotta Have It is surprisingly progressive with its themes of female sexuality, although at some points in the film it is handled clumsily. Overall Nola is an incredibly compelling character especially for modern women, as we as a society acknowledge female sensuality more and more without the negative stigma.
The Super Mario Galaxy Movie comes on the heels of its billion-dollar grossing predecessor, and seeks to do absolutely nothing other than repeat its success. In this, the film is eminently effective. If you have seen the previous film, you can expect something extremely similar in this package. That is, a barrage of references to Nintendo intellectual property wrapped in a plot that provides the thinnest layer of emotional payoff for the characters.