“The more interesting question around racial representation is what Project Hail Mary does with its white male lead.”
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“Bugonia’s treatment of Don, the autistic character, recalls more than a tidge of Lenny from Of Mice and Men.”
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“One gets the feeling that Frankenstein was almost too close to Guillermo del Toro’s heart.”
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“Train Dreams is a beautiful film, but it leans into tropes we’ve seen a million times before.”
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“Discussions of mental health, particularly depression, are an essential part of Sentimental Value’s family’s dynamics.”
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“While it’s racially diverse with men of color in prominent roles, F1 stumbles over several tropes.”
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“The Mastermind stands out for its character-driven narrative and immersiveness, but stereotypes are allowed to play out without interrogation.”
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“Joybubbles demonstrates the ingenuity of disabled people who are forced to navigate a world that isn’t built for them.”
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“Andre Gaines overworks The Dutchman, adding too much meta to the point of weighing it down.”
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“Wicked: For Good imparts an awful message about friendship.”
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“Merrily We Roll Along’s source material leaves little room for its women to have agency or nuance.”
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“H is for Hawk irons out the most interesting complexities of Helen Macdonald’s lived experience.”
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“After the Hunt feels outdated in its surface-level commentary on the #MeToo movement.”
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“While the visuals lean heavily into traditional gender coding, Gabby’s Dollhouse: The Movie avoids toxic messages.”
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“To its credit, Adulthood does weave in disability storylines without sensationalizing them.”
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“Weapons squanders its potential by rehashing outdated stereotypes.”
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“Warfare brilliantly recreates the nightmare the SEALs went through, but at the cost of sidelining Iraqis.”
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“The Penguin Lessons comes off as well-meaning but wrong-footed.”
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“A Complete Unknown is really about a few white men dueling over the fate of folk, with little room for the Black artists who created the genre in the first place.”
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“The Brutalist only depicts Blackness through stereotypes.”
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