On the hottest day, “Phupa”, a cunning, mischievous, and artsy fresh-graduate freelancer, went out to buy Yakku, a twin popsicle to freshen himself up. Unfortunately, there’s only one Yakku left, and “Haemun” a 30-year-old serious-looking, sharp-tonged office worker is also there to get it. When civilized discussion on who is the most deserving one doesn’t work, it must come down to one solution: an epic fight.
The movie makes it abundantly clear that Meeka becoming an official heir is the most likely going to happen. But if you are expecting to see a movie about Meeka’s perseverance and eventual ascent to the throne, prepare to be deeply disappointed.
I love The Last Jedi. I don’t think there has been a Star Wars movie in quite some time that brought something new, something fresh to the table.
Years before Mexican director, Alfonso Cuaron, was winning Academy Awards for movies like Gravity (2013) and Roma(2018), he directed a small, intimate film about two best friends who decide to embark on an improvised road trip to spend time with an older, attractive woman who miraculously agrees to go with them. Y tu Mamá También is a deep journey into the raw sexuality and friendship of the young protagonists, as well as a subtle social and political commentary on Mexico at the time.
The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.
A consumed-by-rage woman travels from universe to universe to avenge the death of her daughter by brutally killing her murderer over and over again. And that's all that she does.
The trouble with Yara (2021) is that in its attempt to tell the whole story, it struggles to tell a consistently engaging story.
