On the heels of this year’s Mid-Autumn Festival comes “Over the Moon,” an animated children’s movie that celebrates the Moon Goddess and the holiday that originated, at least in part, to honor her legend.
“Coming Home Again”: “Coming Home Again”
A figure in running gear emerges into the film frame, panting hard as he jogs up a steep hill.
“Yellow Rose”: A breakthrough film for Filipino Americans
It’s the first Filipino-led film backed by a major American studio. It features award-winning Filipino stars from Broadway, hit movies, and music.
Disney’s live action Mulan: A tribute to the legend and prior versions
By Kai Curry Northwest Asian Weekly At long last, the new live action version of Disney’s Mulan has been released, after multiple delays due to COVID-19, not in theaters in the United States, but on Disney Plus as of Sept. 4. The movie, which is the largest budget Hollywood film ever with an Asian cast […]
Bill and Ted are two unremarkable middle aged white guys and that’s okay!
Dude, I’m gonna cut right to the chase. You will like this movie if you are:
A true fan of Keanu Reeves. I don’t mean “John Wick” Keanu. I mean “Point Break” Keanu. I’m talking “Dangerous Liaisons” Keanu.
Netflix’s “Away” promotes diversity and working together to save the planet by leaving it
Beginning Sept. 4, we are going to Mars, again, or trying to, via the new Netflix series, “Away.”
Asian American girls saw pivotal icon in ‘Baby-Sitters Club’
Author Ann M. Martin had no master plan when she decided to make one of the core members of “The Baby-Sitters Club’’ a Japanese American girl named Claudia.
Review: “The Half of It”
One of the first things you hear from Ellie Chu, the protagonist of Netflix’s latest teen rom-com “The Half of It,” is: “This is not a love story.”
The Lovebirds: Don’t try this at home
Is your partner getting just a little too familiar? Feeling the doldrums of a love life that is all work and no play?
“Driveways” — Three still figures, running deep
The most effective scenes in “Driveways” come quietly, which filmmaker Andrew Ahn understood, because he made most of the scenes come quietly.
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