Movie Review: Sofia Coppola’s ‘On the Rocks’
The film does not add anything to its own conversation or genre, and falls flat once it’s about to end and must declare some sort of conclusion.

Ahmad is an Iraqi asylum seeker with uncertain residence status in Germany. The bureaucracy has sent him to the Westerwald, near the sleepy village of Weilershagen. When Ahmad meets the pub owner Katja there, he charms her with his passion for American line dancing. The two of them not only infect the village policeman Ulli, they set off a veritable chain reaction in the village. Soon an enthusiastic line dance formation is formed, which trains for the German championships with ambition but in great secrecy. Because not everyone in Weilershagen wants to accept that an asylum seeker, of all people, is bringing new impetus to the village. And Ahmad's toleration is all too easy to jeopardize. Especially when love and jealousy drive a wedge into the conspiratorial dance community.
The film does not add anything to its own conversation or genre, and falls flat once it’s about to end and must declare some sort of conclusion.
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.
Another uneven "Guess Who's Coming to Dinner" redux that says nothing novel about its subject matter.
It’s not often in America that you turn on the TV and see a show or a movie with a Muslim protagonist. And when they do, they're usually a negative stereotype. Ms. Marvel changes all of that.
It's sexy, regardless of what else is going on.
"Driveways" is a nuanced portrait of an Asian American family, touching on themes of loss, growth, and belonging.