'The Dinner Party' — MiamisFF Review
A young woman finds herself trapped in a crossfire of awkwardness during a nightmarish dinner party with her boyfriend's dysfunctional family.

Heads are lined up on the shelves one next to another, with different colors and hair styles, yet all the faces are cold and nonchalant. This is Rainbow Salon, a supplier of hair models and wigs to salons and schools. Among these countless "heads," the shop owner's wife lies in the basement of the Rainbow Salon tonight--struggling to breathe, her windpipe cut. The shop owner rushes her to the hospital and then flees. A reporter follows this case and finds that the shop owner has fled the city with his first love. As the reporter attempts to unveil the truth, an unsolved murder from the past seems to be connected to the case--and nothing is as it first appears.
A young woman finds herself trapped in a crossfire of awkwardness during a nightmarish dinner party with her boyfriend's dysfunctional family.
It doesn’t offer an absolute answer for the dialectical ethical questions that emerged in search of justice but portrays the characters as living people beyond the identities of victims.
With mismatched eyes, a willingness to experiment with hair color and style, and a rail thin frame, Bowie always drew attention. But he shunned gendered attractiveness, creating his own space somewhere in between. This hallucinatory and often nonlinear 2022 documentary is a perfect salute to David Bowie’s life and career. Rather than interviewing those that knew Bowie, the standard convention for biographical portraits, director Brett Morgen mostly lets the artist’s images, performances, videos, and words speak to capture the essence of the artist. Bowie was more than just a pop star. He painted, sculpted, acted in films, and was a thoughtful and articulate person who gave sincere answers to even the most shallow interview questions.
Naked Gun: The New Police Squad Team delivers exactly what fans want: relentless, expertly crafted chaos that honors the original while cranking everything up to eleven. The gags fire at machine-gun pace—sight jokes layered with wordplay and physical comedy so outrageous it borders on art. It's gleefully self-aware without being cynical, silly without being stupid, and maintains that perfect ZAZ-style balance of treating absolute absurdity with complete seriousness. The film knows exactly what it is: a comedy missile designed for maximum laughs, and it hits its target with surgical precision. Pure, unhinged entertainment that proves spoof comedy still has plenty of life left in it.
Kate Winslet and Saorise Ronan deliver stellar performances in a film that doesn't live up to its potential.
Typically in film, characters suffering from mental illness are used as plot devices or exaggerated for comedy. 'The House that Jack Built's representation exceeds in accuracy and realism of OCD.