SUPERGIRL – Review by Susan Granger

The era of DC Comics heroes dominating the box-office is officially over! Supergirl is a colossal disappointment. Briefly introduced in the epilogue of Superman (2025), Kal-El’s punky young cousin, Kara Zor-El is also a survivor from the doomed planet Krypton. But, unlike Clark Kent, Kara still remembers the language and culture of her home world since her parents raised her on an outpost known as the floating city of Argo – until that too was destroyed – so young Kara was placed in a pod and shipped off to Earth with her beloved dog Krypto.

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IF THAT MOCKINGBIRD DON’T SING – Review by Liz Whittemore

Filmmaker Sadie Bones tells the story of 17-year-old Sydnie, who, upon discovering she is pregnant, uses it as an excuse to get her ex back. In If That Mockingbird Don’t Sing, Sydnie has no plan for college when her boyfriend breaks up with her the morning after prom. Sydnie, depressed and most certainly guided by an underdeveloped and hormonal brain, decides her best bet in getting Lucas to rekindle his relationship with her is keeping the baby despite all her familial advice to the contrary. When Lucas’s religious mother gets on board and pulls her son out of college to take ownership of his behavior, Sydnie’s prospects do not look any brighter.

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BARBENHEIMER Rules: Conflating BARBIE and OPPENHEIMER – Pam Grady Comments

There are places where the two films intersect, making Barbenheimer less ridiculous than the memes suggest: Both Robert Oppenheimer (Cillian Murphy) and Barbie (Margot Robbie) are midcentury icons, Oppenheimer as the father of the atomic bomb that forever changed the way humans live in the world, and Barbie as the doll that broke the mold, freeing little girls from the tyranny of baby dolls and forever changing the way children play with dolls.

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OPPENHEIMER – Review by Rachel West

Nolan pieces the film together out of chronological order, sometimes whipping between pre- and post-bomb at a clip, switching from colour to black-and-white. It doesn’t make the narrative hard to follow, but the frequent cutting doesn’t give scenes enough time to breathe, lessening their impact on the audience. The climax of the film is undoubtedly the desert Trinity test of the bomb capabilities. Arriving at around the two-hour mark, what makes this whole sequence of events stand out is that Nolan gives it time to build tension and unfold in front of the audience instead of time-hopping to the next scene.

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