“Kumail Nanjiani, a Pakistani-American from a Muslim family, leads a romantic comedy that has played to sell-out theaters in its first week of previews.”
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“Kapoor & Sons chips away at the tall task of normalizing LGBTQ individuals in Indian cinema.”
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“All Eyez on Me’s important commentary on race gets overshadowed by its technical problems.”
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“Highly enjoyable popcorn flick which ticks the box of female empowerment despite struggling to break into truly progressive territory.”
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“Women of color are either sexual objects or played off for laughs. For example, Mantis—found by Ego and raised as his servant and ‘pet’— seems to be written explicitly for the film to indulge in submissive Asian stereotypes.”
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“At some point, we need to stop glorifying the deaths of saintly, self-sacrificial minorities and women, and instead offer them better roles and agency over their own lives.”
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“Sophie and the Rising Sun is a wonderfully intersectional film, featuring interracial love and friendships set to the backdrop of WWII and the languid air of the South.”
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“The camera pans across the metropolis, displaying legions of women depicted solely as sex workers or fetishized, Orientalist fantasies.”
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“It’s a relief to watch a silly action movie without worrying about misogyny or cringeworthy racism.”
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“Get Out winks at centuries of painful history and honors it with an absurd, no-bullshit de-pantsing of race in America.”
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“It’s exciting to see how easily this younger generation is able to dismantle heteronormativity.”
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“The Great Wall is about as literal to the white savior trope as you can get.”
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“The film is frustratingly obvious and pushes the viewer into a passive role. We watch Jackie lay everything bare, leaving no room for personal curiosity.”
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“Wilson’s story is granular, depicting the vicious power that patriarchs can wield as they hurt the women and children in their lives.”
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“Damien Chazelle overreaches in La La Land by centering a white man who insinuates that young Black musicians don’t understand the genre their forefathers created.”
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“The film is at its best when depicting the sheer estrangement between generations within the modern Chinese family.”
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“Arrival has a refreshing gender role-reversal.”
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“Captivating, magnetic, eerie, and kinetic”
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“The uncomfortable industry adulation that surrounded Casey Affleck—despite his confirmed abuse against women in reality—outweighs my ability to recommend this film.”
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“Middling film complete with nostalgic 1980’s throwback costume, music, and unfortunately, the racist and male-centric tropes of that decade as well.”
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