It’s not easy being an Earp girl. Orphaned as kids when demons murdered their father*, Wynonna (Melanie Scrofano) and Waverly (Dominique Provost-Chalkley) watched their older sister Willa dragged off into the night. Now, trapped by a family curse that has them marked by the same demons, the girls are trying to make their weird situation work for them. Waverly just wants to uncover their mysterious family past. Wynonna just wants to shoot bad guys and find time for a stiff drink. But when Wynonna freed a group of women from a demon named Lou (Gord Rand), all that came to a screeching halt. *With a little help from a rogue Peacemaker. Warning: Big Ass Spoiler For “Wynonna Earp” Beyond This Point. One of the women Wynonna saved was her not-so-dead sister Willa Earp (Natalie Krill), the true heir to the Earp legendary gun “Peacemaker.” But now there are several problems.
- 6/17/2016
- by Donna Dickens
- Hitfix
Indian indie favourite Aparna Sen’s new film about love through letters lacks style and diction.
The phonetic possibility of her surname Sen makes Indian indie filmmaker Aparna Sen’s films a fine fodder for all sorts of rhetorical puns in English, most obviously for a word, like say, sensational. But sadly her latest outing, “The Japanese Wife,” does not lend itself to the word because the film is anything but an Aparna Sen film. This also means that many of her previous films actually do lend themselves to hyperbole and it is incumbent to look closely at them individually, which, given her sparse filmography, is not a difficult task at hand. Only such a critique will best highlight why her latest is simply not up to the mark. Otherwise, the author remains a huge admirer of Sen’s abundant sensibility as a filmmaker, which makes her deserving of a seat among global auteurs,...
The phonetic possibility of her surname Sen makes Indian indie filmmaker Aparna Sen’s films a fine fodder for all sorts of rhetorical puns in English, most obviously for a word, like say, sensational. But sadly her latest outing, “The Japanese Wife,” does not lend itself to the word because the film is anything but an Aparna Sen film. This also means that many of her previous films actually do lend themselves to hyperbole and it is incumbent to look closely at them individually, which, given her sparse filmography, is not a difficult task at hand. Only such a critique will best highlight why her latest is simply not up to the mark. Otherwise, the author remains a huge admirer of Sen’s abundant sensibility as a filmmaker, which makes her deserving of a seat among global auteurs,...
- 5/20/2010
- by Sayandeb Chowdhury
- The Moving Arts Journal
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