Don’t Tell Me “Black Doesn’t Sell”
Hollywood has often associated placing black talent at the forefront of major studio releases with an apparent risk of hampering…
“Joy”: Misery Is An Inescapable Cycle
Writer-director Sudabeh Mortezai’s exploration of Nigerian sex workers in Vienna is an inevitably tough watch, bereft almost entirely of what…
Who Run The World? Girls. Six Girls.
Six is a spectacle in every way – perfect cast, sublime score, and the atmosphere is electric. New, successful and…
“Shadow” Should Have Stayed In The Dark
Epic only in its headache-inducing abilities, Zhang Yimou’s ambitious 3rd Century centred Shadow says little of the historical source material upon which…
Sundance Stunners Get UK Releases
After eight months since first premiering at the Sundance Film Festival, some of the most talked about films have finally…
“Crazy Rich Asians”: rich in revenue, not in narrative
Opulence and exotic flavours make Crazy Rich Asians a fresh take on the frequently explored fish-out-of-water tale. Despite a rewarding conclusion…
Skate Odyssey: “Mid90s” is a Journey through the Glories and Traumas of Boyhood
Much like Judd Apatow’s “Superbad” (2009) left an indelible imprint on the socially inept, sexually frustrated teenagers that served as…
“Killing Eve”: Slay or be Slain
BBC America’s Killing Eve grabs hold of you by the windpipe and forces you to watch with bated breath and…
The Children Act review – Thompson triumphs despite sorry act
Matthew Harris Some fine performances and solid cinematography prove ultimately not enough to save this shaky story… Based on Ian…
“Bet you thought you’d seen the last of me.”
Avengers: Infinity War better step aside because the true most ambitious crossover event has arrived. It’s Murder House meets Coven…
