
Where Are the Women? Good Kill
The most significant female character exists only as the wife of the male protagonist, and she spends most of the film in more revealing attire than him. [This post is not behind the paywall.]

The most significant female character exists only as the wife of the male protagonist, and she spends most of the film in more revealing attire than him. [This post is not behind the paywall.]

There are important issues running through this, but the film forgets to be sufficiently engaging in the course of being Significant.

A princess (and future queen) isn’t exactly Everywoman, but even young women of wealth and privilege have stories that deserve to be told. [This post is not behind the paywall.]

A bit of House of Windsor fan fiction: cute but slight, though the re-creation of London’s citywide VE Day celebrations is kind of amazing.

Admiralty Arch, at the opposite end of the Mall from Buckingham Palace, festooned with flags to commemorate the 70th anniversary of Victory in Europe.

Most of the female ensemble are crude stereotypes, but a few central characters are robust, with complex goals that have nothing to do with romance. [This post is not behind the paywall.]

Some sweet sisterhood and truly fantastic musical performances get dragged down by awkward, lazy, embarrassing attempts at humor.

Some anonymous royals — probably Charles and Camilla — motoring along the Mall during Victory in Europe 70th-anniversary celebrations.

This is how you make a movie about bad things that men do to women without being exploitive, or becoming another example of bad things that men do to women. [This post is not behind the paywall.]

Astonishing. Achieves its grotesque, magnificent brutality in an old-fashioned way that serves as a smackdown to bloated, sterile CGI monstrosities.