Giannis is a subversive young man who rebels against any social institution or authority. Unemployed by conviction, he cohabits with his German friend Ilze, who supports him, helps his arrogant uncle , a fallen aristocrat, with his drug smuggling, and becomes friends with a Pontian Turk, Mustapha. The latter has entered Greece illegally and follows Giannis to Athens, hoping to find his Greek grandmother, who is none other than Giannis' grandmother as well. Mustapha steals the hearty of Ilze, whom he entertains with tales of his exploits, but the uncle turns them over to the police, and so they are truly in a tight squeeze. They get out of doing time, despite it all, and leave for Turkey, but they stray into Albania, where they are arrested and sentenced to manual labor.
The Mandolorian has a more nuanced and commentative take on masculinity that refrains from praising the toxic traits associated with the social category, while also showing a more positive and transformative representation of masculine characters.
Over the last several years, I have had the privilege of being one of the critics having the opportunity to watch and review several films from writer/director/producer Marcellus Cox, whose efforts are never anything less but grounded, relevant, and steeped in unflinching glimpses illustrating the gripping, inspired, and ever-vacillating realms that make up the human condition.
Here's what Disney got wrong with "Aladdin" and how it can avoid those pitfalls with "Hercules."
The film is a simple love story reminiscent of stories like The Notebook released in 2004. Sylvie and Robert are rarely actually together in the film, however; time and circumstance keep them away from each other, and the audience waits with bated breath to see them find one another over and over.
