“The Room Next Door portrays disability with sensitivity and respect, never turning illness into a spectacle.”
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“Every character of colour in Wolfs falls into some kind of trope, to differing degrees.”
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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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“Characters like Wanda in I’ll Be Right There—a mom and soon-to-be grandmother—are seldom shown in movies having a sex life.”
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“Aging and disability often go hand in hand, and Josh Margolin easily works that fact into Thelma, leveraging it for power and humor.”
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“Omoiyari: A Song Film by Kishi Bashi delves into Japanese American history and identity, but at times its discussions on race feel underdeveloped.”
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“The Miracle Club’s fumbling ‘Mr. Mom’ scenes feel dated, banking on an audience that finds male ineptitude silly, rather than simply frustrating.”
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“Alejandro’s financial stress—and existential dread—in Problemista as he waits to get a visa sponsorship could just as easily have been my own.”
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“Armageddon Time’s autobiographical nature should not be a pass for crafting hollow Black and female characters.”
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“The Woman King provides a template for how men can advocate for women.”
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“The Eternal Daughter uses a complicated mother-daughter relationship as its central mystery.”
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“Everything Everywhere All At Once accurately captures the organic changes in language and accent that divulge a character’s underlying traits.”
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“Mars One naturally works in disabled narratives through several of its key characters.”
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“While Bruised gets a gold star for lesbian representation, other stereotypes prove to be its weakest elements.”
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“CODA clearly trusts its magnetic cast to honestly portray dimensionality within a Deaf family.”
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“Please, Hollywood, give me more films with women in their 40s and 50s kicking ass!”
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“The Hitman’s Wife’s Bodyguard relies on racially themed humor that’s mostly self aware but ultimately unfunny.”
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“The Father presents the rare perspective of someone experiencing memory loss but fails to go beyond the view of a white man with financial means.”
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“Ludi successfully humanizes the sometimes one-dimensional idea of ‘immigrant grit.’”
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“With two Hoffmans, a Schultz, and a Rubin, it doesn’t take a genius to realize that many of the characters in this story are Jewish.”
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