“The Father presents the rare perspective of someone experiencing memory loss but fails to go beyond the view of a white man with financial means.”
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“Despite its oversimplification of Deaf culture, Sound of Metal generally constructs positive and nuanced characters.”
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“Only two women are given space in this story—and not much space, at that.”
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“Parabellum marks the most diverse entry into the John Wick franchise yet.”
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“Sam Levinson may have based Malcolm & Marie on actual events from his life, but more distance from the material was needed.”
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“Bombshell doubles down on the myth that victims must be perfect to be considered victims.”
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“Ludi successfully humanizes the sometimes one-dimensional idea of ‘immigrant grit.’”
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“For a film named after a groundbreaking blues icon, Ma Rainey frustratingly gets very little screen time.”
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“With two Hoffmans, a Schultz, and a Rubin, it doesn’t take a genius to realize that many of the characters in this story are Jewish.”
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“In The Legend of Molly Johnson, code switching becomes a matter of survival.”
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“What The Fabulous Filipino Brothers gets right is the way it easily employs a Pinoy lens.”
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“Watching Amin embrace his sexuality and let himself go to the soaring tones of Daft Punk is all but guaranteed to bring a tear to your eye.”
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“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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