“The Turning doesn’t offer much.”
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“Depending on your point of view, Promising Young Woman could be considered sexist.”
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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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“Filial piety is alive and well in Asian American content.”
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“Sam Mendes’ film makes incremental updates to the war movie genre, reflecting a story crafted in 2019, not 1917.”
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“Marriage Story follows the confusion and mounting frustrations of Charlie, while Nicole’s motivations feel largely opaque.”
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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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“How many times must we watch and forgive assholes who are ‘at their core, good guys’?”
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“An underlying ‘mean girls’ streak contradicts the feminist ideals that Charlie’s Angels tries to convey.”
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“Despite Little Monsters marketing Lupita Nyong'o as headliner, she sees her screen time eroded by other characters.”
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“Little Women’s monologues, though powerful, rattle their importance as if delivered in a playhouse.”
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“Waves pushes the envelope and shows us what a nuanced coming-of-age story for Black characters can look like.”
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“The Peanut Butter Falcon’s lesson in positive masculinity contributes to the ongoing conversation about what it means to be a man in the modern era.”
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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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“To limit the narrative of World War II to a white, straight, American male perspective willfully skews history.”
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“Parasite exudes cultural specificity, with deep cuts to Korean headlines and reality TV shows.”
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“Women and Black characters are even more diminished in The Irishman than in Martin Scorsese’s previous gangster films.”
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“Hustlers hits a home run with its wider allegory to capitalism in America.”
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“Norton humanizes Tourette Syndrome in Motherless Brooklyn but still reinforces media tropes about the condition.”
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