‘Midnight in the Switchgrass’ is an Imitative, Yet Impassioned Acknowledgement of the Violence Young Women Face August 13, 2021 • 0
Joseph Gordon-Levitt Returns to TV as an Anxious Ex-Musician in the Abstract and Often Surreal ‘Mr. Corman’ August 7, 2021 • 0
‘Naked Singularity’ is a Messy Stream of Consciousness Derived from Difficult Source Material August 5, 2021 • 0
The Elle Woods Complex: My Experiment Going Blonde & The Devaluation of Femininity in Comedy August 3, 2021 • 1
[Book Nook] ‘If The Shoe Fits: A Meant To Be Novel’ Can’t Quite Find The Right Balance In These Heels August 3, 2021 • 0
SUNDANCE LONDON ’21: ‘First Date’ Can’t Quite Decide What It Want To Be – But Does That Really Matter? August 1, 2021 • 0
SUNDANCE LONDON ’21: ‘The Most Beautiful Boy In The World’ Is A Devastating Look At Abuse In The Film Industry July 31, 2021 • 0
CANNES ’21: ‘Bi-Sang-Seon-Eon (Emergency Declaration)’ Manages To Avoid Being Just Another Action Film July 31, 2021 • 0
SUNDANCE LONDON ’21: ‘The Sparks Brothers’ Is An In-Depth Tribute To A Band You Probably Don’t Know July 30, 2021 • 0
