“The Zone of Interest takes the most unlikely of stands towards female autonomy and gender equity: Women can be just as callous, just as brutal, as men.
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“Whenever two women have a conversation, it’s only ever about Kneecap or its male band members.”
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“Freaky Tales uses a simplistic take on real-world issues that reaches for easy answers.”
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“With just four characters to home in on, All of Us Strangers eschews breadth in favor of depth.”
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“Rustin doesn’t go far enough to say anything of substance.”
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“100 Yards neatly deviates from its more jingoistic peers by painting a slightly nuanced picture of a global port city in the 1920s.”
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“The Miracle Club’s fumbling ‘Mr. Mom’ scenes feel dated, banking on an audience that finds male ineptitude silly, rather than simply frustrating.”
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“Indiana Jones and the Dial of Destiny fulfills its don’t-cancel-me quota and phones in the rest.”
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“The Long Game resorts to Hollywood pitfalls of white saviors and respectability politics.”
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“Elvis reinforces the flimsy justifications often given for Presley’s appropriation of Black culture.”
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“Women in Top Gun: Maverick don’t see much development, but written dialogue and camerawork treat them with respect.”
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“It feels lazy for Tár to use the one wheelchair user as a symbolic shorthand for a fate worse than death.”
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“Two women are the voices of reason in a maelstrom of absurdity in The Banshees of Inisherin.”
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“Armageddon Time’s autobiographical nature should not be a pass for crafting hollow Black and female characters.”
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“The showcase of Cape Town’s multiculturalism is where The Umbrella Men shines.”
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“It’s positive to see The Devil You Know showcase loving relationships between Black men, even if it indulges in stereotypes to get there.”
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“Campion’s cautionary tale on the dangers of toxic masculinity remains compellingly relevant to the present.”
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“Despite some well-executed diversity, Moonfall ultimately worships at the altar of white male ‘mavericks.’”
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“West Side Story stirs emotions of pride, especially for a nostalgic older generation. But it will never be a film that tastes of café con leche y pan sobao.”
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“Villeneuve’s Dune comes off more regressive than Herbert’s novel from sixty years ago.”
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