“The Fall Guy easily avoids toxic tropes or obvious stereotypes.”
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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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“Women Talking doesn’t stop with what women can do for each other. It also shows what true allyship from men looks like.”
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“Past Lives makes time for the minutiae that define the immigrant experience.”
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“The Woman King provides a template for how men can advocate for women.”
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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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“Kogonada’s After Yang leaves us with a viscerally Asian American experience that few other filmmakers could put on screen.”
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“The Humans normalizes disability and never flattens it into someone’s sole identity.”
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“Parabellum marks the most diverse entry into the John Wick franchise yet.”
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“Barb and Star proves that comedy doesn’t have to be offensive to make people laugh.”
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“Women generally live to be saved by men.”
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“Critics from Western countries often ask why Bora Kim depicts bisexuality in House of Hummingbird.”
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“In these times of upheaval, The Half Of It makes the perfect getaway car.”
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“Refreshingly, Uncut Gems casts some of its most prominent Jewish characters with actors who are actually Jewish.”
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“Atlantics depicts Islam with matter-of-factness: No explanation, no exoticization, nor hiding some of its uglier practices.”
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“Ford v. Ferrari lightly challenges the ‘60s-era cliche of male infallibility.”
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“It matters that the filmmaker satirizing the horrors of the Holocaust is Jewish.”
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Parasite exudes cultural specificity, with deep cuts to Korean headlines and reality TV shows.
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“Hustlers hits a home run with its wider allegory to capitalism in America.”
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“Clemency ‘shows’ rather then ‘tells’ its inclusive tenets.”
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