Ready Player One (2018)

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Love, Simon (2018)

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A Wrinkle In Time (2018)

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Meg Murray is a troubled child. Her father, a scientist for NASA, has been missing for nearly 4 years, the kids at school are mean to her, and even the teachers think she’s a lost cause. The only person who gets her is her little brother, Charles Wallace, a 4-year-old genius who seems to be able to read minds. One night, a “dark and stormy night” as the characters themselves put it, a strange woman, Mrs. Whatsit, appears on their doorstep, and casually tells them that tesseracts, the ability to teleport to other realms by bending space-time, are real. Seeing as these were the very things Meg’s father was investigating before he disappeared, Meg’s Mother, who is also a scientist, is mortified. Things only get crazier from there when two other strange women, Mrs. Who, a being who only speaks in famous quotes, and Mrs. Which, who is Oprah, appear out of nowhere, and take Meg, Charles Wallace, and Meg’s crush, Calvin, on an adventure to save their father from “IT.” Continue reading

Who Gets A Chance In Hollywood?

It’s Friday, March 2nd. Exactly one week from this date, A Wrinkle In Time will hit theaters. And, regardless of how the film turns out, this will mark a momentous occasion in film history. Not only will it be the first time Madeline L’Engle’s classic sci-fi book is adapted for the big-screen, it will also mark the first time in history that a Black woman, Ava Duvernay, helms a picture with a $100 million budget. 50 years ago, or even 20 years ago, such a thing would be inconceivable. Now, though, female filmmakers and filmmakers of color are being put in charge of high-profile projects all the time. Hell, filmmakers in general are being given more chances to helm blockbusters than ever before. Don’t believe me? Well then ask yourself, what do Mark Webb, Collin Trevorrow, John Watts, Jordan Vogt-Roberts, Patty Jenkins, and Ryan Coogler all have in common? Each of them only directed a handful of low-budget indies before being given the reigns to giant tentpole films. In the case of Jenkins and Trevorrow, they literally only directed one feature film beforehand. Now, being a young, up-and-coming screenwriter, I’m very happy that this kind of thing is happening. It means that the chances of me being able to make the movies that I love are greater. At the same time, however, it got me thinking. Who gets those chances?

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