“Luce upends the Exceptional Negro trope.”
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“The portrayal of Bruce Lee and the othering of Mexicans has the appearance of Tarantino punching down for the sake of cheap humor.”
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“Yellow Rose deftly parallels two seemingly opposing groups: the American cowboy and the undocumented immigrant.”
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“I would love to see MJ and Peter’s classmates of color get a little more meat to their stories.”
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“Late Night spins a great message about racial diversity, but stops short at embodying it.”
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“Shaft completely misinterprets Blackness.”
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“Gender equality should be shown, not joked about.”
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“Always Be My Maybe breaks barriers for diverse talent but offers a simplistic take on the Asian American experience.”
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“Rocketman fully acknowledges—and leans into—the fact that Elton John is gay.”
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“For all of its well-meaning examinations of race, The Sun Is Also a Star rests upon troubling casting.”
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“Plus One pulls back the curtain on romance to present what a ‘perfect ending’ actually looks like.”
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“Endgame fails its female characters by devaluing them and forgets its characters of color entirely.”
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“It’s a joy to see Tsai Chin, who is now 85 years old, play the lead of an action-oriented gangster comedy set in New York City’s Chinatown.”
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“Wild Rose lives and breathes feminism without ever having to comment on it.”
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“Moonlight Sonata is an affecting work that gives full texture to the meaning of being deaf, hard of hearing, or having loved ones in the community.”
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“While Fast Color adopts some comic book conventions, they’re wrapped in feminist allegory.”
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“Booksmart feels baked in sexual diversity.”
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“Michelle Yeoh continues to be #LifeGoals.”
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“The Wilsons leap over stereotypes about dark-skinned Black characters and embody another aspect of their identities—their upwards mobility.”
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“The Weekend feels quietly radical with its rendering of Black characters in roles we normally see reserved for the white upper middle class.”
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