“The Brutalist only depicts Blackness through stereotypes.”
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“Despite its supposed feminist credentials, The Substance doesn’t exactly walk the walk.”
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“Though Heightened Scrutiny lacks the polish of the filmmakers’ previous film, its urgency overrides that detraction.”
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“Third Act drifts out to sea, hinting at a wide range of topics without drilling down into any.”
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“Wicked’s thoughtful casting underscores its story of social injustice and the fight for equality.”
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“The Room Next Door portrays disability with sensitivity and respect, never turning illness into a spectacle.”
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“My Old Ass gives a welcome show of solidarity that doesn’t drive wedges between various LGBTQ identities.”
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“The Last of the Sea Women highlights a unique community of Korean women divers, most of whom are in their 60s and older.”
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“Nothing feels more female-centric than the wary, ever-watchful undercurrent that pervades Janet Planet.”
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“There’s nothing wrong with Tuesday’s main actor of color appearing as a bird rather than as a human, but it’s a creative decision that falls into a longer trend.”
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“Madame Web can’t shake the sense of a male gaze, egged on by its all-male writers.”
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"Love Lies Bleeding proves that gay women of color—who have both physical strength and emotional intricacies—are to be made visible, worshiped, and understood."
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“Using an understated but powerful approach, Anatomy of a Fall opens up multiple discussion points regarding gender, sexuality, and disability.”
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“It’s a joy to watch The Marvels’ superwomen support and empower one another.”
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“Drive-Away Dolls is a great example of what beloved directors can do when they try out new types of characters and identities in their stories.”
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“Freaky Tales uses a simplistic take on real-world issues that reaches for easy answers.”
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“Ostensibly about a deadbeat dad trying to get to know his daughters, it’s the relationships between women in Queens that provide the most satisfying conclusions.”
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“In the Land of Brothers gives insights into the casually cruel treatment of Hazara Afghan refugees in Iran.”
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“Origin’s Aunjanue Ellis-Taylor gives a soul-stirring performance, but she can’t rein in the overstretched film by sheer force of will.”
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“Saltburn toes the blurred line between a positive reclamation of the ‘evil gays’ trend and a negative stereotype.”
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