An Indigenous sci-fi thriller, “Night Raiders” brings the painful history of Canada’s residential school system into a war-torn, eerily conceivable future. (This is one in a series of reviews from the 2021 Toronto International Film Festival, during which I focused on films directed by women.)
“Aloners” is an intensely quiet, atmospheric exploration of self-imposed isolation and loneliness requiring both focus and patience from the audience. “Violet,” by contrast, is intrusively loud, allowing neither its protagonist nor its viewers a moment of peace from the insistence of its narrative interruptions.
Examined together, these films present two distinct views on modern life, professional achievement and personal struggle.
In Céline Sciamma’s newest feature, “Petite Maman,” for the first time, mother and daughter speak the same language and play the same games—perhaps discovering that they understood each other all along.
[This is one in a series of reviews from the 2021 Toronto International Film Festival (TIFF), during which I focused on films directed by women.]
Famously private, Aretha Franklin handpicked singer Jennifer Hudson to portray her in the compelling release by debut film director Liesl Tommy. “Respect,” its flaws notwithstanding, underscores Franklin’s genius.
As the world watches the Taliban seize power in Afghanistan and women’s lives come under threat, Women Make Movies, a nonprofit distributor of independent films made by and about women, is making their Voices of Afghan Women film collection available to watch for free through September 12, 2021.
“Gunpowder Milkshake” is a cautionary tale about what happens when you’re determined to make a women-led shoot-‘em-up, but have given very little thought to what you’re actually going to do with those women in terms of story structure, characterization or dialogue.
‘Black Widow’ may be an enjoyable romp on the surface, but as a triumphant send-off for Natasha Romanoff, it feels hollow: too little, too late.
AMC’s new drama “Kevin Can F**k Himself” upends the “sitcom wife” trope we all know and hate. When Allison—or Kevin—leaves the room, the lighting gets darker, the camera angle shifts, and suddenly, Allison is no longer a supporting character but rather the star, increasingly frustrated with her life and role.
Released exactly a year ago on Saturday, ‘The Old Guard’ was overwhelmingly well-received by critics and was my favorite film of 2020, easily making it onto my end-of-year best feminist films list. And yet, the film is deserving of even more fanfare and continued accolades (especially with a sequel in the works). Consider this my ‘The Old Guard’ one-year anniversary present, masquerading as a review.
Whether it was passing up on beers with his team to clean up Baby Yoda vomit, struggling to find “child care” for Baby Yoda before embarking on especially dangerous bounty hunts, or—well—the entire show’s plotline hinging on the Mandalorian’s natural desire to take care of “the child” and protect it, our hero unapologetically shows how badass it is to be a caregiver.