“An underlying ‘mean girls’ streak contradicts the feminist ideals that Charlie’s Angels tries to convey.”
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“Despite Little Monsters marketing Lupita Nyong'o as headliner, she sees her screen time eroded by other characters.”
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“Little Women’s monologues, though powerful, rattle their importance as if delivered in a playhouse.”
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“Waves pushes the envelope and shows us what a nuanced coming-of-age story for Black characters can look like.”
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“The Peanut Butter Falcon’s lesson in positive masculinity contributes to the ongoing conversation about what it means to be a man in the modern era.”
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“Ford v. Ferrari lightly challenges the ‘60s-era cliche of male infallibility.”
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“It matters that the filmmaker satirizing the horrors of the Holocaust is Jewish.”
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“To limit the narrative of World War II to a white, straight, American male perspective willfully skews history.”
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“Parasite exudes cultural specificity, with deep cuts to Korean headlines and reality TV shows.”
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“Women and Black characters are even more diminished in The Irishman than in Martin Scorsese’s previous gangster films.”
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“Hustlers hits a home run with its wider allegory to capitalism in America.”
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“Norton humanizes Tourette Syndrome in Motherless Brooklyn but still reinforces media tropes about the condition.”
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“Clemency ‘shows’ rather then ‘tells’ its inclusive tenets.”
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“The entire premise of Jexi, that a broken man needs to be fixed by a woman, has no place in modern-day filmmaking.”
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“Joker suggests that mental health issues require government funding—a narrative that would actually be progressive, if the film stopped there.”
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“It: Chapter Two fails to treat trauma with any nuance or care, leaving its victimized characters high and dry.”
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“Knives Out weaves in some effective commentary on immigration.”
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“Many films set abroad borrow ‘exotic’ backdrops and locals to make their lead characters more interesting. To the Ends of the Earth avoids all that.”
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“Simply having people of color on screen does not translate into good representation.”
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“Ruby must deal with the stigma of being a Black woman in the VERY white Irish mob. But like so many topics in The Kitchen, nothing ever comes to fruition.”
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