In particular, I appreciated that BEEF (2023) was made into a series instead of a long-winded film, as it allowed viewers time to process the progression of the storyline. By focusing mainly on the lives of the primary characters, BEEF (2023) was able to hone in on its themes of loneliness and impulse in an effective way. This series was exceptionally enticing and, interestingly, sustained a clear focus on the inner lives of Cho and Lau. Danny Cho, a failed contractor, and Amy Lau, an unfulfilled artist, see the worst of themselves projected onto the other person. Both the story and characters tend to become intertwined and the characters’ true impulses come to fruition after the incident. The series follows Danny Cho (Steven Yeun) and Amy Lau (Ali Wong) who are pitted against each other after a road rage incident. When this series first started gaining traction on Netflix, I immediately knew that it would be included in this film review. The series Beef centers around events between the two leads which starts with an interaction in their cars. Throughout the span of these three months (post Letterboxd download), I’ve delved deep into Wong-Kar Wai’s cinematic universe and consumed other forms of recent media. Naturally, it goes without saying that I have a lot more experience reviewing movies for my faithful three subscribers. I had mentioned using the app Letterboxd for the first time in our previous movie review. I want to make it clear that these reviews are not the end-all-be-all of diversity, and that I recognize that there are many more cinematic examples that exist beyond the ones listed here. In my last review, I discussed my intention behind reviewing films written/directed by underrepresented minorities and the importance of diversifying the media that we consume. If you have not read the previous part of my media review, I strongly encourage you to take a look at it here. Rest assured folks, I’m back for my final film review.
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