The whole film has three, (but in reality, two main) characters. Most of the action takes place in a country house, home to the pair. She - a Japanese translator, he - a man without a definite occupation, lover of the texts of Nietzsche (which he reads fluently in its original language) and St. Augustine (who is quoted in Latin). They are Moscow intelligentsia who have emigrating to their own cultural space. A couple so different that it is difficult to understand what keeps them together. It seems they live together, not because of, but rather in spite of everything that is happening (or rather, not happening) between them.
Christopher Nolan transforms Homer's ancient epic into one of the most breathtaking cinematic spectacles of his career. While its nonlinear storytelling and exposition occasionally hold it back, The Odyssey is a visually stunning, emotionally resonant blockbuster that demands to be seen on the biggest screen possible.
The Resort has an excellent climax surrounded by disappointments. Somehow, at a mere 75 minutes, this movie still manages to be 70 minutes too long.
Adam McKay might have been more concerned with cramming cameos than he was in this story which is a bloated criticism of the rich and famous… delivered unto us by the rich and famous.
Attack of the Killer Tomatoes: Organic Intelligence is not merely the fourth sequel in a cult classic film about a delicious vegetable apocalypse: it’s a love letter to slapstick, sight gags, and the original 1978 film. It’s also a meta-comedy, spy-thriller parody taking place in a world where the original film series was a documentary about the horrors of the Tomato War that the government covered up by convincing everyone it was a comedy. Taking place in 2026, Organic Intelligence sees genetically modified tomatoes grown out of control and rising up to attack humanity again - luckily, Agent Maria Sifuentes (Myrna Velasco) of the Federal Vegetable Investigation Bureau is there to uncover the corporate conspiracy behind it, and she won’t take no for an answer.
She is being made to justify why she doesn’t believe he’s a feminist, instead of him having to justify his choice to claim he is one.
"Boston Strangler" pulls the curtain back on a well-documented historical moment involving significant contributions from women reporters.
