It's been thirty years since Joan (Mad Men's Talia Balsam) & Susie (Only Murders in the Building's Linda Emond) stood before their closest friends to celebrate at a small wedding, decades before their union would become legally recognized. Now, in front of children and chosen family, they cross a different threshold.
The plot could’ve really been interesting if the elements of lycanthropy was integrated with perhaps the struggle of identity of being LGBTQ+. It's an experience for so many that as they’re starting to realizing their true selves, they feel like a monster, especially if they come from unsupportive homes or communities. Instead, the horror and transformation elements seem thrown in without contemplation of how this could deepen the narrative.
This delightfully odd horror movie presents a whimsically strange alternate reality to younger audiences.
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.
After the untimely death of his brother by way of an ambush in Kandahar, Afghanistan, the protagonist, ‘81’(Alan Ritchson) unsuccessfully makes several attempts to become an Army Ranger. On his last mission to complete the Ranger selection process he and his squad encounter an otherworldly ‘soldier’.
Cinderella has been adapted many times over, with the latest adaptation from Amazon sparking controversy over its girlboss agenda. But what of diversity? We rank some of the most popular adaptations for diversity.
KPop Demon Hunters took social media by storm recently—is it truly as good as people have hyped it up to be?
