Buugii

From action director Le-Van Kiet, The Princess plays into well-worn genre subversions, but actually sees those subversions through for a satisfying effect.

It's a more conventional, less anachronistic cousin to the Bridgertons of the world, absent of any orchestral pop music covers or scandal that will steam up the screen, but there are still plenty of familiar genre motifs included to satisfy the most ardent of Regency romance lovers.

It is really beautiful and wonderful and worth watching. I advise everyone to watch it because it is really worth watching

[SPOILER ALERT: This review contains spoilers.]

[SPOILER ALERT: This review contains spoilers.]

shallow and disingenuous garbage, one of the worst pieces of media on the planet by a long shot. MGK is one of the least authentic celebrities on the planet and him and his fiancée are frankly terrifying.

[SPOILER ALERT: This review contains spoilers.]

So often, Disney films smooth over some of the uglier bits that plague human society. However, in showcasing Charles and Vera's journey from Lagos to Istanbul and eventually Athens, award-winning Nigerian film director Akin Omotoso refuses to shy away from the racism, xenophobia, humiliation, and everything else the two

Edwards’s generic approach — heavy on talking heads and explanatory title cards — often yields fuzzy results, with a haphazard rush of information overwhelming the rare moments the documentary settles into a more defined and compelling point of view.

Silently dumped onto Netflix and non-existent as an entry on Letterboxd, Blasted is a perfectly fine sci-fi comedy destined to fade into obscurity.

Diop’s small but potent act of subversion, in choosing disparate lives and moments that could seem linked by a railway line and nothing more, is not just to enlarge the idea of who is meant by the collective French “We.” It is also to reclaim the selection process for inclusion within that tiny, divided pronoun.

Chernobyl: The Lost Tapes, directed by James Jones, does not extensively explore the history of its components. It’s less concerned with the tapes themselves than with the act of bearing witness.

Absorbing if not quite insightful, due to a fair degree of self-editing, this remains a moving, often melancholic document of a fabulous songwriter and singer whose legacy becomes ever more obvious as the years pass. A must for fans.

Its technical motions are janky and unpolished, but that doesn’t discredit Mackay’s stronger voice as a storyteller and scene composer. So Vam is a tale of intent versus execution, masking low-budget gumption with passionate narrations.