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Like The Contender's Laine Hanson 20 years prior, US Democratic Party Vice-President choice, Kamala Harris, cuts the oxygen feeding the US political climate's raging sexism.
Compared to the two film versions of Native Son in more recent times, the 1951 version more acutely captures the race-driven existential dread at the heart of Richard Wright's masterwork.
As with so many of these movies about daughters who go astray, Test Tube Babies blames the uptight mothers who never told them about S-E-X. Meanwhile, Guilty Parents exploits poor impulse control and chorus girls showing their underwear.
There's so much tragedy present, so many skullduggeries afoot, and so many cruel and vindictive characters in attendance that a sad and heartbreaking ending seems to be an obvious given in Paul Leni's silent film, The Man Who Laughs.
Rodd Rathjen's directorial feature debut, Buoyancy, seeks to give a voice to the voiceless men and boys who are victims of slavery in Southeast Asia.
Featuring an ebullient and combative Stacey Abrams, All In: The Fight for Democracy shows just how determined anti-democratic forces are to ensure that certain groups don't get access to the voting booth.
Żuławski's world of hapless also-rans in L'important C'est D'aimer is surveyed with a clear and compassionate eye. He has never done anything in his anarchic world by the halves.
Blade Runner, and the work of Philip K. Dick, continues to find its way into our cinemas and minds. How did the visions of a paranoid loner become the most relevant science fiction of our time?
Telling the tale of the cyclops through the lens of high and low culture, in O'Brother, Where Art Thou? the Coens hammer home a fatalistic criticism about the ways that commerce, violence, and cosmetic Christianity prevail in American society .
After her prized 2017 film, Mala Junta (Bad Influence) displayed the oppression of the indigenous Mapuche people in Chile, filmmaker Claudia Huaiquimilla's work continues to dig into her country's deeply entrenched inequalities.
Spider-Man: Far From Home ties up the themes of deception and Trump-era media manipulation and it ensures that the next Spider-Man film will be completely different from anything that came before.
Buster Keaton was aware that the camera can be a catalyst of violence, especially stereotypical violence, for audience consumption -- and that it could also evoke the shared joy of cathartic laughter.
Sinuous camera moves and stylish direction, endings that surely wouldn't have flown after the Code crackdown: four pre-code talkies from Cecil B. DeMille, Phil Goldstone, Victor Halperin, and Stuart Walker.
Films by Sam Newfield and W. Merle Connell in Kino Lorber's Forbidden Fruit series show how exploitation films are blueprints for mainstream cinema.
So much of Abbas Kiarostami's Taste of Cherry feels relevant to the 2020 experience, in which small distances have never felt greater.
Preston Sturges' The Lady Eve demonstrates that somewhere within the convolution of deception (self-deception included) lies a truth that persists all the same.
That today's viewers can't easily fall into the fantasy of Rock Hudson as an "Indian" in Taza Son of Cochise -- one of three films discussed here -- provides its own distancing and underlining of the themes that make it Sirkian, the rampant phoniness used as a vehicle for something true.
The fight to legalize gay marriage is a story the Left must cherish, a tale of systemic justice in an era of burgeoning oppression, a refreshed vision for a time that needs a refreshed "public dream" for change.
Zack Snyder's Batman V Superman: Dawn of Justice interrogates two primal drives in American culture through the top characters of the DC pantheon: fear and its trauma (Batman) and naked power and its ambiguities (Superman).
X-Men: Dark Phoenix, a weak, disappointing film, ends two decades of the groundbreaking X-Men series with a barely audible whimper.
Critic Roger Ebert was frustrated with Abbas Kiarostami's Taste of Cherry because the film subverts our desire to understand another -- the very core of cinema's intent.
The pugnacious characters in Cassavetes' Husbands couch their inauthenticity in bullying. For them, anger is more authentic than placidity, rage more authentic than sadness, cruelty more authentic than kindness.
Preston Sturges' The Lady Eve is layered with texture and substance draped in the gleeful prurience of a master of slapstick and romance who could write foolish millionaires with the same deft ear as cultured hooligans.
Greta Gerwig's film adaptation of Louisa May Alcott's classic novel Little Women strays from the dominating theme of existential loneliness.
Escape in John Sturge's The Great Escape is a tactical mission, a way to remain in the war despite having been taken out of it. Free Will is complicated.
Paul Schrader's The Comfort of Strangers presents the discomfiting encounter with another —someone like you—and yet entirely unlike you, mysterious to you, unknown and unknowable.
Avengers: Endgame features all the expected trappings of a superhero blockbuster alongside surprisingly rich character resolutions to become the most crowd-pleasing finalés to a long-running pop culture series ever made.
Amy Seimetz's She Dies Tomorrow makes one wonder, is it possible for cinema to authentically convey a dream, or like death, is it something beyond our control?
The ongoing persecution of LGBTQ individuals in Chechnya, or anywhere in the world, should come as no surprise, or "amazement". It's a motif undergirding the history of civil society that certain people will always be identified for extermination.
There's a song performed in James Whale's musical, Show Boat, wherein race is revealed as a set of variegated and contradictory performances, signals to others, a manner of being seen and a manner of remaining hidden, and it isn't "Old Man River".
Anna Kerrigan talks with PopMatters about her latest film, Cowboys, which deviates from the common "issues style" approach to LGBTQ characters.