The monolith is everywhere and in everything.
The Happy Time Murders wants to be as profanely funny as Team America: World Police. It just doesn’t have the nerve or the heart.
Crazy Rich Asians should play well everywhere for those content for it to be just Asian and not bothered by the fact the fact that those that know it well (in Singapore where it has been criticized for not be truly representative of the country’s real class distinctions) won’t see it as Asian enough.
There is no point describing the plot of Deadpool 2 because the jokes and insane action sequences are the only reason for its existence.
Flavors of Youth points out how memory is essential to all identity. How it is the source of all art and creativity.
To All the Boys I Loved Before (based on the semi autobiographical novel by Jenny Han) creates lead characters with unusual depth for the genre.
There are some homages to 2001’s Dawn of Man prologue (monolith like stone markers are an obvious offender) particularly in the Music of the Spheres echoes on the score, but it sticks rather closely to the Clan of the Cave Bear model established by Michael Chapman.
Director Peter Berg, working with Wahlberg for the fourth time, keeps everything humorlessly direct and savagely bloody.
Zama is about waiting— not the Waiting for Godot or Guffman kind— but the Colonial kind, which is historical, eloquently long and wonderfully filmed, cryptically acted and so broadly elliptical that it could mean anything while seemingly meaning everything. The kind that is either literary fraud or masterwork.