You Can Always Come Home (2021)

My review’s title is a nod to Shakespeare and is entirely deliberate. The original movie portrayed the high-end fashion world as a brutal arena of plotting, backstabbing, and betrayal, and most Shakespeare’s plays depend on these plot devices. The Devil Wears Prada 2 uses the same formula, and is, plot-wise, almost identical. Once again, we plunge into the cutthroat world of Runway, where to get and stay at the top, you must let go of your principles and moral sense. The only thing different is that due to the digital era, Runway is not a print magazine anymore, but one that is running online.

With raw and unapologetic performances by Viola Davis and Chadwick Boseman, stories about the hardships of Black musicians are weaved in with The Blues.

Can a piece of bad representation truly be reclaimed? We Are Pat (2025) attempts to answer this question.

The film seems like an extreme interpretation of the conspiracy theorists that exist in real life. And then, there’s the twist.

Even with its straightforward premise, “Richard Jewell” is ramped up by exceptional drama. In all honesty, the performances are out of this world. As Jewell, Paul Walter Hauser becomes a walking representation of gullibility. His bumbling antics create the perfect hero, and very quickly, we feel the societal heat that surrounds our protagonists.

This little Netflix film was very inspirational. It passes the Bechdel test, and features a different worldview with rural Indian representation.