Seventeen-year-old Carlos doesn't fit in anywhere, not in his family nor with the friends he has chosen in school. But everything changes when he is invited to a mythical nightclub where he discovers the underground LGBTQ nightlife scene: punk, sexual liberty and drugs.
The Cycle refuses to lean into the same old, same old monster-movie tropes and builds the entire premise around the intellect and the history of a capable, smart female protagonist.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.
Acutely funny and always well-intentioned, Last Week Tonight has a lot of heart for a satirical-news program.
Between its problematic nature, its lack of originality, and the senselessness of its violence, Onslaught cannot be recommended in good faith.
'Alice' is a genre trifecta: one part revenge drama, one part historical account, one part throwback to Blaxploitation—kinda 'Django' meets 'Roots' meets 'Foxy Brown.'
Our protagonists perform as the opposite gender while still preserving the parts of their personalities that makes themselves who they are.
