Marya E. has written 8 reviews for films rated ★★★★½ .

  • Ghostbusters: Afterlife

    Ghostbusters: Afterlife


    Overall, Ghostbusters: Afterlife is a hoot. Truly one of the best sequels in recent memory, offering just enough of the familiar to justify its title, while also bringing so much heart and fun and originality along for the ride. If this serves as a launchpad for a new phase in the franchise, with such a dynamic lead as Phoebe at the helm, I’m willing to follow her anywhere.

    [Full review at Nerdist]

  • Medusa



    "The whole church part of the film, for me, is the most realistic. The boys were inspired by a real army from a very evangelical church in Brazil that put together male youth groups that look like armies. All the speeches of the minister were inspired by real speeches from famous ministers I watched on YouTube. In the church aspect, I tried to be more close to reality because their reality is already a lot like a horror film." - Anita Rocha Da Silveira

    [Full interview with Anita Rocha Da Silveira at Moviefone]

  • Violet



    "For me, it’s a revenge film for me in a way. I feel like those fear based decisions or those critical thoughts stole time from me. So it’s my figuring out there’s other ways to cross that chasm, but I figured out a particular way to do it, and I’m going to take this recipe and tell everybody else how to do it. I wish I had seen this at nineteen because I would have gotten to that point earlier than I did." - Justine Bateman

    [Full interview with Justine Bateman at Moviefone]

  • The Mad Women's Ball

    The Mad Women's Ball


    For generations, women who pushed against their expected roles in life were written off as mad, and in extreme cases, locked away. For equally as long, these women were fodder for art that depicted their madness as evil. In this last century, we’ve seen contemporary women take back their sister’s agency. Like Antoinette Cosway, the madwoman in the attic from Charlotte Brontë‘s 1847 novel “Jane Eyre”, given agency by Jean Rhys in her 1966 feminist revisioning “Wide Sargasso Sea.” The…

  • Lingui: The Sacred Bonds

    Lingui: The Sacred Bonds


    Souleymane's performance is tender and raw, seething under the surface with the anger she carried all these years for the community that exiled her, but also buoyed by the deep love she feels for her daughter. Through Amina and Maria’s journey to reproductive freedom, Haroun both shines a light on the strict patriarchal laws of the country, but also the powerful connections women form to help each other survive within them.

    [Full review at]

  • Neptune Frost

    Neptune Frost


    Utilizing a color palette of ultraviolet and neon blues and greens, infused with music and dance, the filmmakers have crafted a world that feels both part of the greater tradition of Afrofuturism, while also feeling uniquely its own.

    [Full review at]

  • The Visitor

    The Visitor


    just kept screaming DUMP HIM at the screen

  • Tempest



    five stars to the goats who danced to Liza