Aurora Amidon

Aurora Amidon spends her days running the Great Expectations column and trying to convince people that Hostel II is one of the best movies of all time. Read her mostly embarrassing tweets here: @aurora_amidon.

‘Moxie’ Wants So Badly to Fit in with Today’s Teen Comedies

By Aurora Amidon 

Amy Poehler’s well-meaning Netflix Original says much less about feminism than it wishes to, ultimately falling flat compared to other progressive female-led teen comedies of today.

Minari And Nomadland

Searching for the American Dream in ‘Minari’ and ‘Nomadland’

By Aurora Amidon 

In these two new films, the American Dream is observed from wildly different perspectives. But the conclusion they come to is eerily similar.

Saint Maud ending explained

The Ending of ‘Saint Maud’ Explained

By Aurora Amidon 

In Rose Glass’s breakout feature, God is not what He seems.

I Care A Lot Ending Explained

The Ending of ‘I Care a Lot’ Explained

By Aurora Amidon 

In J Blakeson’s crime film, Rosamund Pike plays a woman who won’t rest until ultimate success has been achieved.

To All The Boys Always And Forever

9 Movies to Watch if You Like ‘To All the Boys: Always and Forever’

By Aurora Amidon 

From ‘Say Anything…’ to ‘Little Women,’ these movies play a part in making the teen rom-com sequel so enjoyable.

Pieces Of A Woman: Vanessa Kirby As Martha

Grief on Trial in ‘Pieces of a Woman’

By Aurora Amidon 

In Kornél Mundruczó’s English-language debut for Netflix, a grieving mother bears her loss for the world to see.

Wonder Woman Ending

The Ending and Post-Credits Sequence of ‘Wonder Woman 1984’ Explained

By Aurora Amidon 

In this DC superhero sequel, love conquers all.

Sense And Sensibility Movie

The Cathartic Power of ‘Sense and Sensibility’

By Aurora Amidon 

For its 25th anniversary, we look at how Ang Lee and Emma Thompson’s adaptation of Jane Austen’s classic novel subverts expectations of female heroines.

Brokeback Mountain Landscape

Landscape as Metaphor in ‘Brokeback Mountain’

By Aurora Amidon 

Ang Lee shoots his subjects predominantly in long lenses to convey a sense of inescapable loneliness.