“In the hands of a different filmmaker, Chaos Walking could have put forth a potent message.”
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“A disabled character on the silver screen who’s not solely defined by their condition is all too rare.”
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“Barb and Star proves that comedy doesn’t have to be offensive to make people laugh.”
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“By prioritizing a straight perspective, So My Grandma’s a Lesbian! pushes its queer protagonists to the sidelines.”
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“An ease with bilingualism solidifies the Latino perspective of Son of Monarchs.”
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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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“While Try Harder! hints at the correlation between anti-Blackness and the model minority myth, it never quite threads anything together.”
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“One for the Road’s impeccable first half is let down by later scenes of misogyny and ableism.”
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“Meaningful representation consists of more than simply casting women and people of color.”
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“Period films disproportionately favor male luminaries, casting history in a skewed light where the contributions of women remain obscure.”
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“Val’s entire role depends on harmful stereotypes of mental illness.”
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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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“Seeing a complex love story between two women onscreen—flawed though it may be—never stops feeling like a revelation.”
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“Mank jubilantly leans into the sexism and racism of pre-war Hollywood.”
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“Who knew that an all-Asian cast could feel so disappointing on racial representation?”
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“For all there is to criticize, Holidate does surprise us by presenting a relationship with an age gap in a positive way.”
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“Is Over the Moon an Asian American story or a Chinese one? It tries to be both and winds up feeling like neither.”
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“The Forty-Year-Old Version scathingly critiques the institution of theater.”
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“Rather than interrogate disability stereotypes, Chemical Hearts employs them to stunting effect.”
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“A subtle stench of the ‘not like other girls’ trope tarnishes Enola Holmes’ otherwise noteworthy treatment of gender.”
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