Mediaversity Reviews

Tomatometer-approved publication
Rating Title/Year Author
B+ () Li Lai Many films set abroad borrow "exotic" backdrops and locals to make their lead characters more interesting. To the Ends of the Earth avoids all that. EDIT
Posted Sep 21, 2019
B+ Crazy Rich Asians (2018) Mimi Wong Crazy Rich Asians has been burdened with a great deal of responsibility. EDIT
Posted Aug 18, 2019
C- Sierra Burgess Is a Loser (2018) Samantha Summers Although marketed as a lighthearted rom-com with positive messages, Sierra Burgess crosses too many ethical lines to fully enjoy. EDIT
Posted Aug 18, 2019
A- The Hate U Give (2018) Dominique S. Johnson More than simply highlighting prejudice, The Hate U Give peels back another layer and examines the issues that can divide the Black community from within. EDIT
Posted Aug 18, 2019
B The Favourite (2018) Mimi Wong Period films have touched on same-sex romance, but the way The Favourite centers a lesbian love triangle feels utterly new. EDIT
Posted Aug 18, 2019
A- If Beale Street Could Talk (2018) Mimi Wong The audience sees Tish and Fonny as they see each other: fully realized, at the center of their world, and as people deserving of love. EDIT
Posted Aug 18, 2019
A- The Rider (2017) Mimi Wong Chloé Zhao's The Rider serves as a testament for why making the extra effort to tell underrepresented stories matters. EDIT
Posted Aug 18, 2019
B+ Captain Marvel (2019) Dana Sloane Captain Marvel centers a white protagonist but offers significantly more fleshed-out roles for Fury and Maria that rise above sidekick status. EDIT
Posted Aug 18, 2019
C- Avengers: Endgame (2019) Dana Sloane Endgame fails its female characters by devaluing them and forgets its characters of color entirely. EDIT
Posted Aug 18, 2019
A+ Luce (2019) Robert Daniels Luce upends the Exceptional Negro trope in this slow-burn thriller. EDIT
Posted Aug 18, 2019
C- Once Upon a Time... in Hollywood (2019) Robert Daniels The portrayal of Bruce Lee and the othering of Mexicans has the appearance of Tarantino punching down for the sake of cheap humor. EDIT
Posted Aug 5, 2019
A Yellow Rose (2019) Li Lai Yellow Rose deftly parallels two seemingly opposing groups: the American cowboy and the undocumented immigrant. EDIT
Posted Aug 4, 2019
3.75/5 Spider-Man: Far From Home (2019) Joi Childs Spider-Man: Far From Home delivers the goods with another great performance by Tom Holland and out-of-this-world cinematography from returning director, Jon Watts. EDIT
Posted Jul 21, 2019
A Late Night (2019) Li Lai Late Night spins a great message about racial diversity, but stops short at embodying it. EDIT
Posted Jun 25, 2019
F Shaft (2019) Robert Daniels [Shaft is] the worst and most problematic film of 2019-or any other year, for that matter. EDIT
Posted Jun 21, 2019
3.5/5 Men in Black: International (2019) Joi Childs Men in Black: International provides a mostly enjoyable experience but the adventures fail to engage the way the original movies did, and battles seem to reap fewer rewards. EDIT
Posted Jun 17, 2019
4/5 Rocketman (2019) Joi Childs Rocketman's tagline calls itself a "true fantasy", but it's the grounded elements that give it weight. EDIT
Posted Jun 17, 2019
B Always Be My Maybe (2019) Li Lai Always Be My Maybe breaks barriers for diverse talent but offers a simplistic take on the Asian American experience. EDIT
Posted Jun 6, 2019
C+ The Sun Is Also a Star (2019) Robert Daniels For all of its well-meaning examinations of race, The Sun Is Also a Star rests upon troubling casting...In many regards, The Sun Is Also a Star fights itself. EDIT
Posted May 20, 2019
B Plus One (2019) Li Lai Plus One pulls back the curtain on romance to present what a 'perfect ending' actually looks like. EDIT
Posted May 13, 2019
A+ Lucky Grandma (2019) Li Lai It's a joy to see Tsai Chin, who is now 85 years old, play the lead of an action-oriented gangster comedy set in New York City's Chinatown. EDIT
Posted May 2, 2019
B- Wild Rose (2018) Li Lai Wild Rose lives and breathes feminism without ever having to comment on it. EDIT
Posted Apr 30, 2019
B Moonlight Sonata: Deafness in Three Movements (2019) Li Lai Moonlight Sonata is an affecting work that gives full texture to the meaning of being deaf, hard of hearing, or having loved ones in the community. EDIT
Posted Apr 16, 2019
B+ Fast Color (2018) Robert Daniels "While Fast Color adopts some comic book conventions, they're [uniquely] wrapped in feminist allegory." EDIT
Posted Apr 16, 2019
Us (2019) Monique Jones More than just a horror movie, Us represents a multilayered experience that will leave your brain in knots...In short, you simply have to watch Us for yourself. EDIT
Posted Apr 7, 2019
A- Booksmart (2019) Li Lai Booksmart feels baked in sexual diversity. EDIT
Posted Apr 2, 2019
C Master Z: Ip Man Legacy (2018) Li Lai Michelle Yeoh remains incredible to watch, but toxic masculinity rules the kung fu genre-and Master Z is no different. EDIT
Posted Mar 31, 2019
A- The Weekend (2018) Li Lai The Weekend feels quietly radical with its rendering of Black characters in roles we normally see reserved for the white upper middle class. EDIT
Posted Mar 24, 2019
B+ () Li Lai Numa Perrier wraps you in a cocoon of safety as we traverse Jezebel's difficult material together. EDIT
Posted Mar 17, 2019
B- Native Son (2019) Li Lai Native Son challenges society to stop objectifying Black culture, showing how worshiping it can be just as dehumanizing as loathing or fearing it. EDIT
Posted Mar 16, 2019
B+ () Li Lai Romantic Comedy thoughtfully explores a major category of films from a distinctly female perspective. EDIT
Posted Mar 13, 2019
F Vice (2018) Li Lai Vice comes off as a boys' club that has its heart in the right place but ultimately succumbs to its own self-importance. EDIT
Posted Feb 23, 2019
B+ What Men Want (2019) Li Lai What Men Want never reaches for lazy stereotypes to garner its many laughs. EDIT
Posted Feb 22, 2019
D Bohemian Rhapsody (2018) Li Lai Singer has been repeatedly accused of sexual assault against underage boys, leading to a thick cloud of unease that hangs over Bohemian Rhapsody. EDIT
Posted Feb 18, 2019
A Vai (2019) Li Lai Vai amplifies Pacifika filmmaking with its slate of 9 directors, all of them indigenous women. EDIT
Posted Feb 15, 2019
Solo: A Star Wars Story (2018) Monique Jones The character deaths in Solo: A Star Wars Story will leave you feeling angry, as they are unearned and disproportionately affect women. EDIT
Posted Feb 12, 2019
Guardians of the Galaxy Vol. 2 (2017) Monique Jones Women of color are either sexual objects or played off for laughs. Mantis, found by Ego and raised as his servant and 'pet', seems to be written explicitly for the film to indulge in submissive Asian stereotypes. EDIT
Posted Feb 12, 2019
Avengers: Infinity War (2018) Monique Jones Infinity War highlights just how dude-centric the MCU has been for 10 years. EDIT
Posted Feb 12, 2019
Pacific Rim Uprising (2018) Monique Jones "Pacific Rim: Uprising challenges the notion of a leading black man who must appear culturally blank in order to seem 'safe' for non-black audiences." EDIT
Posted Feb 12, 2019
BlacKkKlansman (2018) Monique Jones The cross-racial team-up of Zimmerman and Stallworth allows BlacKkKlansman to become much more instructional for white viewers than it is for black ones, since we black Americans have lived with the realities of the race-based violence all our lives. EDIT
Posted Feb 12, 2019
D Green Book (2018) Li Lai Green Book has a race problem, but it delivers cringeworthy depictions of women and gay men too. EDIT
Posted Feb 9, 2019
A+ The Farewell (2019) Li Lai The Farewell dives straight into the deep end with authentic representation, handily revealing the infinite diversity within Chinese identity alone. EDIT
Posted Feb 3, 2019
C+ Bumblebee (2018) Li Lai Lack of racial diversity in Bumblebee is tempered by a complex female lead, with the end result of a rockin' movie guaranteed to make your Millennial soul soar. EDIT
Posted Jan 31, 2019
C- Hereditary (2018) Li Lai Hereditary literally demonizes a transgender spirit. EDIT
Posted Jan 14, 2019
C+ Eighth Grade (2018) Li Lai Eighth Grade helps fill a void of complex young women in film, but its complete disinterest in characters of color feels limiting. EDIT
Posted Jan 7, 2019
B Spider-Man: Into the Spider-Verse (2018) Li Lai I'm flummoxed by how many new (and progressive!) films still fail the laughably easy Bechdel Test. EDIT
Posted Jan 6, 2019
A- Rogue One: A Star Wars Story (2016) Li Lai Chirrut's abilities borderline the trope of portraying disability as a superpower, but thankfully writers avoid offense by giving him a personality and character development that has nothing to do with his eyesight. EDIT
Posted Jan 2, 2019
A Hidden Figures (2016) Li Lai Hidden Figures presents a different angle to what it means to be Black in America and delivers it to a wide audience. EDIT
Posted Jan 2, 2019
D Sing Street (2016) Li Lai Middling film that relies heavily on 1980s nostalgia-and unfortunately, the racist and male-centric tropes of that decade as well. EDIT
Posted Jan 2, 2019
A The Fits (2015) Li Lai The Fits champions young Black women, but the true journey that Anna Rose Holmer takes us on transcends anything external. EDIT
Posted Jan 2, 2019