
Max is a young and nimble provincial, not particularly burdened by morals and principles, energetically making a successful career in Moscow. He works in a recruitment agency, and his specialization is to fire top managers, help squeeze out shares in companies, and similar routine business issues. Max’s next task is to get rid of Georgy, the chief programmer of a large IT company. At first glance, work for a couple of days, because who is Gregory? A bearded boy under 40, the embodiment of simplicity and harmlessness. But it turns out that this is a unique case, and it is incredibly difficult to fire Gregory. Especially considering what a charming half-sister he has. Max has to go through a lot of funny, touching and dangerous trials that will help him understand that there are other values in life besides career, money and real estate.
Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.
Although Christmas is a time of year for love and cheer for all, holiday cinema has not always represented diverse communities. Being a holiday with Christian origins, much of its media consists of straight white families or straight white romances. Luckily, modern years have been bringing with them plenty of POC and LGBTQ+ representation that the holidays so desperately need.
Even without the messaging, Mercy does not hold up as a movie. It's sloppily done and the mystery doesn’t tie together at the end.
You've heard the phrase “If looks could kill,” but have you heard “If dancing could kill?” Pretty Lethal takes that idea and runs with it.
"The Mitchells vs. The Machines" captures the eternal struggle between kids who want to pursue the arts and their practical parents who think they'll fail.