“Code of the Freaks presents one of the most comprehensive looks at disability in film thus far.”
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“Hamtramck, USA neither whitewashes the Muslim experience nor demonizes it.”
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“When a true story is all a movie has going for it, why drown it in schmaltz?”
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“The script never delves into the roots of Garland’s issues, making her downfall seem rather abrupt.”
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“I Will Make You Mine pits three leading women against each other for the affections of a man.”
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“I Still Believe’s attempt to inspire comes at the expense of the woman it means to honor.”
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“I Carry You With Me reveals the intersection of misogyny and homophobia that exists among traditionalists.”
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“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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