“Stronger stops short of authentic casting but manages to present Jeff Bauman’s story with sensitivity and realism.”
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“The only healthy depiction of a complex, romantic relationship in Atomic Blonde takes place between Lorraine and Delphine.”
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“People of color are picked off easily, like a retro horror film where the Black guy gets killed first.”
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“American Assassin uses Islam as a convenient shorthand for terrorism and evil, yet it’s conspicuously absent in ‘good’ characters from Iran.”
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“Women and people of color exist at the margins of Spider-Man: Homecoming, peeking in but never developing corporeal form.”
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“Columbus flies through our metrics on the steam of its fully-realized character development.”
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“Despite addiction being one of the main themes of the film, The Glass Castle fails to adequately address the issue.”
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“If this is the future of media, I think I’m going to like it here.”
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“Dunkirk is a sensory feast with palpable nostalgia for an era before women’s liberation and civil rights movements.”
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“LOEV has its heart in the right place but suffers from uneven storytelling and a lack of female characters, both of which hurt its Mediaversity score.”
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“Joon-ho Bong’s Okja misses the mark in some ways, but it does present creativity and global collaboration.”
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“Kumail Nanjiani, a Pakistani-American from a Muslim family, leads a romantic comedy that has played to sell-out theaters in its first week of previews.”
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“Kapoor & Sons chips away at the tall task of normalizing LGBTQ individuals in Indian cinema.”
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“All Eyez on Me’s important commentary on race gets overshadowed by its technical problems.”
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“Highly enjoyable popcorn flick which ticks the box of female empowerment despite struggling to break into truly progressive territory.”
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“Women of color are either sexual objects or played off for laughs. For example, Mantis—found by Ego and raised as his servant and ‘pet’— seems to be written explicitly for the film to indulge in submissive Asian stereotypes.”
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“At some point, we need to stop glorifying the deaths of saintly, self-sacrificial minorities and women, and instead offer them better roles and agency over their own lives.”
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“Sophie and the Rising Sun is a wonderfully intersectional film, featuring interracial love and friendships set to the backdrop of WWII and the languid air of the South.”
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“The camera pans across the metropolis, displaying legions of women depicted solely as sex workers or fetishized, Orientalist fantasies.”
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“It’s a relief to watch a silly action movie without worrying about misogyny or cringeworthy racism.”
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