This film will go down in history as the multi-million dollar cinematic phenomenon that no one wanted to see, but probably saw anyway.
The appropriately titled “Avengers: Endgame” brings the 22-movie Marvel Cinematic Universe to a close.
This is a spoiler-free review.
In general, “Atomic Homefront” is not as interested as I had hoped it would be. The post-production of the film feels somewhat rushed, and the music is often generic for the subject matter: slightly heavy and orchestrated.
As the film progresses, more hazards of this African migration are revealed. Money and jobs are hard to come by. Con men promise job security but leave hopeful migrants in debt and jobless.
After the success of last year’s “The Christmas Prince,” Netflix has hopped on the Hallmark Channel train of producing cheesy but heartwarming original Christmas films, releasing four new films in the last month.
In honor of the double feature, I’m going to take a look at the history of the stage show and compare it to the more widely known “Picture Show” version that gives the story its cult status.
It saddened me, this scene, this movie, that although it was fiction, it was the reality for black America. The scenes were so vivid and frighteningly realistic that I had forgotten I was watching a movie until the end, and that was the goal.
Even if one ignores the extremely problematic elements of the film, “Sierra Burgess is a Loser” simply falls flat as a romantic comedy.
“Mission: Impossible—Fallout” is that rare and refreshing film that knows exactly what it is and what it wants to do: awe us.
As someone who grew up never seeing anybody who looked like her on television and in movies, except for Brenda Song on “The Suite Life of Zack & Cody,” “Crazy Rich Asians” meant something to me.
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