Yara (2021): An Unfocused True Crime Narrative
The trouble with Yara (2021) is that in its attempt to tell the whole story, it struggles to tell a consistently engaging story.

Waiting for an old friend’s phone call, the lonesome Uncle Goose has not left home for days. But when food runs out, Uncle Goose decides to go to literal great lengths in order to keep the telephone by his side! Whatever it takes to be in time to pick up that call, because a promise is a promise.
The trouble with Yara (2021) is that in its attempt to tell the whole story, it struggles to tell a consistently engaging story.
I’m disappointed in The Woman in Cabin 10, but that’s at least in part because of my love of Ruth Ware’s novel.
We’ve always known that Edgar Wright is a mixologist when it comes to blending sound, light, colour, and texture. This is especially true in the first act of the film. In fact, all of my positive feedback is directed exclusively at the first act of this film.
A recent look at gender and racial diversity in film shows some signs of progress. However, white men still make up the vast majority of actors and directors in top-grossing films.
Shudder’s Host (not a particularly original title, I must say) attempts to bring the spooks to “the quarantine generation” by presenting us with a scary Zoom call during lockdown.
Adrian Chiarella’s Leviticus is a beautiful, poignant, enraging, gut-wrenching, and heartbreaking film about the trauma and harm conversion therapy inflicts on young queer people. Even though its classification as horror holds, the emotional bond between the two main characters, Naim and Ryan, elevates the story into a realistic romantic drama on par with Eternal Sunshine of the Spotless Mind.