Pop culture has influenced all of us.
The American Society of Magical Negroes, written, directed, and produced by Kobi Libii with Julia Lebedev, Eddie Vaisman, and Angel Lopez, is a satirical comedy. The satirical comedy premiered at the Sundance Film Festival 2024 and earned Kobi a spot on Variety’s 10 Directors To Watch.
Sony’s Spider-Man Universe webbed a new tale on Feb. 14 with the release of “Madame Web,” introducing a fresh origin story for the clairvoyant Cassandra Webb (played by Dakota Johnson).
In an era defined by escalating disparities between the privileged elite and the rest of society, “Dumb Money” thrusts us into the epicenter of a battle where underdogs boldly confront the one percenter.
Recalling the fervor of Occupy Wall Street, a movement that erupted over a decade ago against wealth inequality, the documentary draws parallels to the more recent GameStop Short Squeeze of Jan. 2021. A riveting narrative unfolds, inspired by “The Antisocial Network,” reimagining events from just over two and a half years ago.
The story kicks off in the summer of 2019, introducing Keith Gill, brilliantly portrayed by Paul Dano—a Chartered Financial Analyst and YouTuber. Gill passionately champions the undervalued GameStop stock on platforms like YouTube and Reddit, attracting a growing legion of everyday individuals. As the movement gains momentum, Wall Street’s titans grow increasingly uneasy. In the end, Gill and his cohort of investors achieve unprecedented success, leaving Wall Street’s elite reeling from substantial losses.
Paul Dano’s portrayal of Gill is exceptional, capturing the essence of a quirky yet savvy YouTuber and financial analyst. His performance adds depth to the intricate financial machinations beneath the surface. Supported by a stellar cast including Seth Rogen, Vincent D’Onofrio, Pete Davidson, America Ferrera, Sebastian Stan, Shailene Woodley, and Anthony Ramos, the ensemble contributes to the film’s formidable impact.
Director Craig Gillespie, known for his work on “Cruella,” maintains an engaging pace, translating the script into a visually captivating narrative. Despite the potentially intimidating financial jargon, the film ensures accessibility, breaking down complex concepts for a diverse audience.
“Dumb Money” promises an engaging experience for all, whether you’re a financial enthusiast looking to revisit a captivating chapter of history or someone intrigued by the real-life clash between financial giants and the underdogs.
NEW YORK, NY – At Gilligan’s, New Yorkers can escape the bustling city life in exchange for a tropical beach getaway.
NEW YORK, NY – It is at Nar, the latest Turkish restaurant to open in New York’s Flatiron District, that the restauranteurs Andy E. Arkun (The Polo), Erhan Bahceci (Food Cellar Market), and Zeynep Tansung (Izmir Commodity Exchange) seek to bring a contemporary flair to traditional Turkish cuisine.
A handful of scenes from the visually breathtaking and poignant feature film ‘Lakota Nation vs. United States’ lure the viewer into the vast Midwestern expanse known as the Black Hills: horseback riders galloping in a circle in slow motion on top of a grassy plain, a berry pink, almost crimson, withering sun, and a 1953 Technicolor clip of a white couple expressing their longing for the geographic region.
The Flash has been a staple in DC comics since the 1940s, and has continued to be a fan favorite for decades. However, in this last installment of the now defunct DCEU, Warner Bros. took a huge chance and gave The Flash a stand alone film. The story was a mixture of The Flashpoint Paradox with a little bit of Crisis on Infinite Earths and it worked really well.
Wes Anderson is a confident director.
When we think of a Western, several images come to mind.
A tumbleweed rolling through a dusty town. The hero has to be the first to draw his gun. John Wayne rides off on his horse into the great wide somewhere. These stories tend to have one thing in common: a man in his natural habitat. The Old West towns, the wide open plains, the badlands are all considered to be rightfully possessed by the hero who roams them—and that hero is always a man.
Then Callie Khouri’s screenplay for Thelma & Louise flipped the script on the genre forever.
In lieu of the Western genre’s signature cowboy, Thelma & Louise featured two anti-heroes cursed by their femininity. Instead of a horse, audiences got a blue 1966 Ford Thunderbird. The scenery of mountains, oil rigs, deserts, and canyons were deserving of the genre—but served the purpose of being their escape instead of their domain.