Once Upon a Time in (White) Hollywood
Tarantino's alternative history of the 1960's uncritically repeats the era's sexist and racist stereotypes.

College student Gei (Hou Yan Xi) lives with his mom Zhen Ying (Miao Ke Li) in Tamsui. His father, nineties idol Bone, disappeared 24 years ago, leaving behind a half-written song. Because of this, Zhen Ying won't let Gei play the guitar or pursue rock music, leading to constant arguments between the two. Though he has no money himself, Gei is always trying to help out his buddies, and even secretly uses his mother's property to guarantee his friend's debt. One day, after enraging both his mom and girlfriend (Beatrice Fang), Gei gets super drunk and on his way home, he sees a man crying for help in Tamsui River. Gei rescues the man (Chris Wu) and finds that he looks exactly like his father! Bony's sudden arrival changes the family in unexpected ways, even as he constantly badgers Gei to help him return to the past.
Tarantino's alternative history of the 1960's uncritically repeats the era's sexist and racist stereotypes.
The classic ghosts-in-revenge story expanded into an extensive dig into the historical social system while being funny and horny.
Netflix’s Shadow and Bone has a complicated relationship with race. It has a diverse cast, but not without its problems. Based on Leigh Bardugo’s two book series, the show features characters from the Shadow and Bone trilogy, which is very straight and white, and the Six of Crows duology, which is much more diverse. When bringing together a cast and writing about these characters, the team behind the show expanded upon some of the representation missing from the first trilogy, then seemed to take away representation from the duology. Shadow and Bone seems to play a bit of a push and pull game when it comes to portraying diversity onscreen.
In Saudi Arabia, a little girl (Wadjda) is told she can't have a bike because she's a girl. Wadjda struggles to obtain a bicycle to race her friend, Abdullah, due to the gender inequality and cultural norms of Saudi Arabia.
It’s fun, it’s energetic, but it’s also understated and vicarial. Zola is a modern black fairytale and future of black movies.
Netflix’s new mystery thriller, The Marked Woman (released originally as La Desconocida), is confusing. More critically, though, it commits the worst mistake a movie can make: it’s boring. From Spanish director Gabe Ibáñez, the film squanders its premise at every turn, fills the story with unlikeable characters, and lacks emotional payoff.