“American Fabric centers voices we rarely see, as Pakistani American women make their own choices about wearing hijab.”
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“Wild Horse Nine’s lack of diversity is partially the point. But it follows such a familiar premise that there’s really no excuse not to change it up a bit.”
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“Whalefall can’t commit to a central idea, and clichéd Inuit references only add to its sense of clumsy overreach.”
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“Blind AF never sands down Shawn Cheshire’s rougher edges to the point where she becomes a disabled symbol rather than a gritty human being who lives with blindness and complex PTSD.”
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“It’s bracingly fresh that in A Talent for Murder, Helen Mirren plays a queer, 74-year-old main character who’s kind of hateable.”
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“Despite using a sexist genre trope to initiate the action, Your Mother Your Mother Your Mother more than makes up for it.”
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“While I’m happy for Musk to critique the world’s richest asshole, one has to wonder if all this scrutiny isn’t just fanning the flames.”
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“First Comes Love: Nakabingwit challenges people from a place of caring.”
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“The Owens might be cursed, but whiteness haunts the Practical Magic films just as fully.”
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“The only woman of any significance in Resident Evil isn’t even on screen, and she’s defined by a clichéd storyline about being pregnant.”
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“Grandma initially seems harsh and disengaged, but she becomes the most complex adult in all of Ah Girl.”
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“The End of Oak Street gives nuanced, fully lived-in portraits of women in their 70s and older.”
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“All the Millennial graduates of indie sleaze will be knocking down the door to join Finding Emily on the dance floor.”
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“The Dog Stars asserts that in just 10 years, the American West will suddenly be filled with gruff white men.”
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“The Marching Band concerns itself with class differences without the intersection of race.”
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“PAW Patrol: The Dino Movie’s disability representation shows what every movie can and should do. But that strength makes the gender problem that much harder to forgive.”
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“Spider-Man: Brand New Day’s women mostly wait and advise, its actors of color mostly function, and its most interesting metaphor gets tangled in its own web.”
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“Meta Take One dares to put Black men in a role Hollywood almost never lets them play: the doomed, self-destructive genius.”
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“The Odyssey casts inclusively but still reserves its leading roles for white men and jarringly excludes Greek talent from this iconically Greek tale.”
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“I Love Boosters confidently navigates the complex territory of where race, gender, and class intertwine.”
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