February 17, 2025
You’ve reached the place where all the bad, but oh-so-satisfying entertainment exists. Here, in the Trash Vortex, we provide you with only the trashiest, most bingeworthy recommendations. It’s a dark hole you won’t escape!
Trashy Films We Want to Rant About
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Emilia Pérez: one of the worst piles of crumbs gathered off the floors of a kindergarten cafeteria and dubbed as some putrid excuse for a film production. This flaming heap of sewer slop somehow amassed a whopping 13 Oscar nominations, despite being inarguably the most hated movie on the 2025 Academy Awards roster.
The fact that it received a Rotten Tomatoes audience score of 11% (lower than both Madame Web and Joker 2) and a critic score of 72% reveals that the state of the American film industry is clearly not where it’s supposed to be. Criminally out-of-touch, old, bald dudes like that 72% of “critics” — high off snorting dust they scraped off of some dumpster in a back alley — praise these awful movies because they think they’re what the audience wants. None of them have even half the functioning neurons required to hear their viewers.
The plot of Emilia Pérez revolves around its fictional namesake, a Mexican cartel leader; she fakes her death to abandon her previous life (which included a wife and kids) so she can medically transition. The other main focus is the film’s protagonist, Rita, the lawyer Emilia kidnaps and pleads for assistance. Strangely enough, the filmmakers decided to incorporate musical aspects to the project, which might have worked out okay had anyone on the team heard any song in their life before. Few to none of the songs had a memorable or lasting melody, and if any did happen to be at least a little catchy, I promise the lyrics ruined them.
Not only are they barely comprehensible, but both the script and the songs are more often than not outright disrespectful and transphobic. Even after Emilia comes out to the protagonist and her surgeon, she is deadnamed and misgendered the entire time. Her identity is only respected after she physically transitions; this conveys the damaging narrative, to confused cisgender allies, transphobes, and impressionable trans youth alike, that someone’s true gender only deserves respect once they’ve completely surgically transitioned. As anyone who already has a decent understanding of how trans people “work” — for lack of better words — should know, many trans people choose not to completely surgically transition or do it at all. Invasive surgery is expensive and physically demanding, which not everyone is monetarily and/or physically/genetically equipped to handle.
For example, the number “Lady” depicts Rita arguing with the surgeon she chooses to convince him that Emilia truly needs these operations. Rita and the surgeon misgender Emilia for the entire song, with the doctor repeatedly referring to her as “Mr. Mystery.” He insists that Emilia is simply confused and desires a change of personal, non-gender-related identity rather than a change of sex, initially refusing to even consult with Emilia herself.
To conclude, if you’ve any respect for trans people at all, don’t give this production any of your time or money. You definitely shouldn’t pirate the movie if you intend to hate-watch it because piracy is bad, and stealing from multi-billion dollar corporations is just terrible; don’t do it. Anyhow, the film deserves none of your time, as the French guy who made it put absolutely zero effort into not only the representation of trans identity, but Mexican culture, as well.
Let’s not mention that they cast a Spanish woman with a history of racism to portray a Latin American woman. Because every Spanish-speaking country is pretty much the same, right? (/s) Available on Netflix.
—Marco Fernandez, Trash Vortex Editor
He’s All That
He’s All That (2021) is the painful gender-swapped reboot of the film
She’s All That (1999). The reboot follows TikTok star Addison Rae’s character Padgett Sawyer as she makes a bet with her frenemy Alden (Madison Pettis) that she can take “the loser” character Cameron Kweller (Tanner Buchanan) and turn him into the next prom king. What makes Cameron a loser and Padgett popular? Well, Cameron’s loser qualities in question include his lack of social-media presence and friends along with his interest in photography. He’s the complete opposite of Padgett, who presents to the world a false luxurious life, pretending to be rich in order to stay popular in school and online.
During the film, we watch as Padgett begins to worm her way into Cameron’s life, connecting to his little sister, inviting him to events, and showing up at his home and work, where she throws horse poop at him and then the two proceed to laugh about it. Because apparently that’s romantic? To follow that, not even 30 minutes in, we see Cameron’s character immediately start falling in love with Padgett. Mind you, this is only their second time hanging out together, and it’s during a god-awful karaoke scene.
Since this movie was shot around the COVID-19 lockdown, the majority of it follows these two characters around random locations, watching as they bond over their lack of father figures and middle class status. Padgett brings Cameron thrifting to upgrade his wardrobe, before chopping up that horrendous wig the hair department gave him, turning him from “loser” to “hunk.” As she goes on to make him “beautiful” on the outside, the feelings between the two begin to grow and Cameron tries to help Padgett see her own beauty on the inside, under all the makeup and fake luxury life lies — providing us the overall, failed message, of the movie’s true meaning.
Then, of course, he finds out about the bet in front of the whole school and leaves her, because we always need the damning moment before the end. Due to this, he decides not to attend prom, missing Padgett’s prom queen speech about how she’s actually not the perfect, popular, rich girl she said she was but was lying the whole time.
But don’t worry! Even though Cameron misses the speech, and there’s no reasonable apology, his little sister convinces him to forgive Padgett, and Cameron — being the flat spineless character he is — says yes. Next thing you know, he’s riding up to the high school on a horse, finding Padgett before the two dance under the stars to a cover of the song “Kiss Me,” coming full circle to the original She’s All That.
While the film hoped to present a more modern take on She’s All That, any substance the creator tried to go for about accepting one’s inner beauty is all painfully drowned out by the mediocre acting, obvious product placement, and overreliance on using technology and trends to relate to younger generations.
Even though the main story is poorly put together, I will give it credit for the scenes involving Cameron and his little sister that provided a genuine bond between two characters that’s actually believable. While I can easily see everything rough about this film, unfortunately, it is still a guilty pleasure of mine that I will continue to suggest that people go and watch. Stream on Netflix.
—Kendall Cox