The story of a serial gourd robbery murderer and the police pursuing him is interspersed with episodes from a film director whose motif is based on Ueoka himself.
Disney's live-action remake is vibrant and beautiful, with updated music and classic enthusiasm, but it fails to push the envelope and provide nuance for Ursula.
A boy named Max experiences adventure within his own house while staying home alone.
The Lighthouse is patient and hypnotic, pulling us in with its mysterious atmosphere and characters. The film’s slow pace proves to be monumentally effective, showcasing the tedious nature that comes with isolation and poor two-way communication.
One young woman with an unusual background tries to find and establish herself in the real world, which isn't exactly as festive as she hoped it would be.
Ultimately the problem with The Bubble is that it plays everything for laughs to get around the audience’s defenses. But it comes off like a privileged white male thinking that ridiculing everyone else equally is the road to equality. And it’s not. And it's definitely not funny to pretend that it is.
Shudder’s Host (not a particularly original title, I must say) attempts to bring the spooks to “the quarantine generation” by presenting us with a scary Zoom call during lockdown.
