Due to successive miscarriages, Mary Wollstonecraft Shelley had little choice but to write about life regenerated when the Shelley gang got together to write Gothic stories. That's the theory of critic Ellen Moers. She and Shelley would twirl in their graves to see how men have twisted the Frankenstein story, again.
Grief over a child's death cuts deeper than words can communicate. This unbearable tragedy is the engine that drives "The Disappearance of Eleanor Rigby." Conor and Eleanor's baby boy died, throwing their relationship and every aspect of their lives into crisis. Eleanor moves back with her parents, Conor with his father, as both struggle with some semblance of constructive coping.
Gleefully convoluted, director Danny Boyle's "Trance" invites second-guessing from its opening scenes to its last. Simon, who works at the high-end London auction house, directly addresses the camera, explaining security strategy. Seconds later, the heist of the multimillion-dollar Goya "Witches in the Air" kicks the plot into high gear.
Prequels are tough to do well since viewers have the advantage of 20-20 hindsight and the origins are challenged to live up to established reputations. In a prequel's favor, in this case X-Men: First Class, is the keen interest in how characters met, got their names, moved from friendship to enmity, and gained stature.