“Little Richard: I Am Everything critiques the star’s Christian evangelism, which strikes an unexpected note in these types of biodocs.”
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“Half a million French colonial troops including West Africans, Moroccans, Algerians, and Indochinese saw combat during World War I, many of them at the Western Front.”
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“Past Lives makes time for the minutiae that define the immigrant experience.”
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“Two women are the voices of reason in a maelstrom of absurdity in The Banshees of Inisherin.”
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“Broker is a movie that distinctly blends Japanese director Kore-eda’s sensibilities with those of Korea.”
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“It’s wonderful to see such breadth of Black identities and skin colors in this Scottish, Glasgow-set story.”
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“Several interviewees in KOKOMO CITY theorize on why Black cis culture holds such deep-rooted tensions with trans women.”
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“It’s rare to see Black Muslim Americans depicted with the understated authenticity seen in To Live and Die and Live.”
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“It’s great to see someone openly queer play a leading role in a popular, mainstream movie like Glass Onion: A Knives Out Mystery.”
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“Black Panther: Wakanda Forever’s screenplay makes it hard to root for Shuri.”
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“She Said communicates Jodi’s Jewish background through important scenes.”
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“Decision to Leave deftly uses a Korean-Chinese language barrier to heighten the romantic tension between the leads.”
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“Tobias Lindholm renders The Good Nurse with more sensitivity than other titles in the true crime genre.”
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“Armageddon Time’s autobiographical nature should not be a pass for crafting hollow Black and female characters.”
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“The Woman King provides a template for how men can advocate for women.”
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“The Eternal Daughter uses a complicated mother-daughter relationship as its central mystery.”
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“For a film that gleefully takes down those in power, Triangle of Sadness’ reliance on disability tropes feels like an incongruous misfire.”
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“Bones of Crows features a few disability tropes.”
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“The showcase of Cape Town’s multiculturalism is where The Umbrella Men shines.”
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“Aristotle and Dante walks the right side of the line that separates stereotype and representation.”
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