Monster (2023): When the Truth Is Not in the Telling but in the Seeing
Not every silence is empty. Some are filled with things too heavy for words.

The Muyu Middle School in Muyu, Qingchuan County, Sichuan, collapsed in the 512 Wenchuan earthquake, killing 286 students according to official statistics; but the actual death toll is not just that. The director Pan Jianlin, who has been in the area since the sixth day after the earthquake, uses interviews to contrast the different perspectives and statements of the students who escaped the disaster, the teachers who are afraid of taking responsibility, the parents who are desperate, the government officials who are hiding the facts to maintain the government's image, and the rescue workers who are on the run, creating a ridiculous tragedy that is like a Rashomon.
Not every silence is empty. Some are filled with things too heavy for words.
What can I say about this Will Ferrell/Julia Louis-Dreyfus-led “dramedy?” Well, the comedy part of Downhill is completely non-existent. And I should have known that the film was a flop when I walked into an empty theater at a prime time on a Friday night.
In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.
Cinderella has been adapted many times over, with the latest adaptation from Amazon sparking controversy over its girlboss agenda. But what of diversity? We rank some of the most popular adaptations for diversity.
But what many do not know is that in 2019, a Wonder Woman film was released that had all of the positive qualities of WW84, and remedied many of the negative ones. Wonder Woman: Bloodlines, a direct-to-video animated movie in the DC Animated Movie Universe, perfectly balances the campiness and seriousness of the character.
In all actuality, “Just Mercy” should be labeled a “wall punching narrative.” Constantly, the flick throws high forms of adversity our way, amping up our most inner levels of discomfort. Filmmaker Destin Daniel Cretton wonderfully paces the film in such a way that replicates the slow-burn nature of justice.