"The World to Come": A Stunning Period Romance
Mona Fastvold’s nineteenth century lesbian romance is emotionally charged, restrained, and poetic without feeling forced.

Defying her obdurate Colonel father Betty Lewis elopes with Bob Hale. When Bob is killed in an automobile accident, the colonel discovers Betty is pregnant and after the birth cruelly tells Betty that the baby died while placing the child in an orphanage. When Betty later marries Ken Tyler she stays silent about her previous marriage, at the colonel's request. One day while visiting an orphanage with her sister, Barbara, who hopes to adopt, she finds her own daughter. Taking her home she admits to Ken the child's true parentage. Angered at first, he is persuaded by his own mother and accepts the child.
Mona Fastvold’s nineteenth century lesbian romance is emotionally charged, restrained, and poetic without feeling forced.
Diana’s spirit has taken off, ‘No right, no wrong, no rules for me.’ And in that moment, as she runs on the screen, she gets it, her ‘Let It Go’ moment.
Ultra-violent storytelling has never been my thing, but the issues with Scarface go beyond that. The film perpetuates harmful stereotypes about Latinx immigrants and uses gore and misogyny for shock value that never serves any purpose. The whole venture is frustratingly empty, and left me desiring something more.
"Ladies First" has a fundamental misunderstanding of what's feminine because of the patriarchy and what women do because they genuinely enjoy it.
The quiet ache of guilt sitting at the dinner table, the silence after a truth is buried, and the way pain is passed down like a name.
"WHAT ARE YOU WILLING TO SACRIFICE?!!!!" "EVERYTHING!!!!!" This is but one of a multitude of highly emphatic questions, and subsequent answers, being asked in the newest feature film from one of the current masters of horror, Jordan Peele ("Get Out", "Us" and "Nope"). I must give Peele credit in that he continues to push the boundaries of specific genres and their associated tropes in order to provide what ends up amounting to subtly then jarringly intense, yet still character and story-driven, cinema that speaks more to indie stylings than mainstream.