“Please, Hollywood, give me more films with women in their 40s and 50s kicking ass!”
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“Parabellum marks the most diverse entry into the John Wick franchise yet.”
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“Ludi successfully humanizes the sometimes one-dimensional idea of ‘immigrant grit.’”
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“Sammy and Patricia tussle and yell with sheer physicality, occupying space in a way that young Chinese American women aren’t normally afforded in American media.”
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“Hollywood frequently pigeonholes filmmakers of color into only telling stories about their own communities. It’s exciting to see Run depart from that harmful trend.”
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“The Forty-Year-Old Version scathingly critiques the institution of theater.”
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“Nomadland presents older characters, many living with disabilities, unvarnished but with endless empathy.”
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“Critics from Western countries often ask why Bora Kim depicts bisexuality in House of Hummingbird.”
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“Grounded by its specific following of a Black Texan community, Miss Juneteenth manages to carve out a unique voice in a crowded field.”
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“In these times of upheaval, The Half Of It makes the perfect getaway car.”
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“Selah and the Spades makes no assumptions about sexuality.”
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“Hamtramck, USA neither whitewashes the Muslim experience nor demonizes it.”
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“Filial piety is alive and well in Asian American content.”
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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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“Parasite exudes cultural specificity, with deep cuts to Korean headlines and reality TV shows.”
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“Hustlers hits a home run with its wider allegory to capitalism in America.”
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“Clemency ‘shows’ rather then ‘tells’ its inclusive tenets.”
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“Lose yourself in this nostalgic summer retrospective, and maybe learn a thing or two about the modern history of Taiwan.”
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“Luce upends the Exceptional Negro trope.”
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“Yellow Rose deftly parallels two seemingly opposing groups: the American cowboy and the undocumented immigrant.”
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