1:99 Shorts 

Lady Bird (Saoirse Ronan) tells her mother (Laurie Metcalf) that she wants to live through something — something that matters.

The history of Hollywood is as ugly as it is beautiful. Most notably absent from Hollywood history are Black-produced films. “They’ve Gotta Have Us” explores the rise of Black cinema.

Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.

A surprise sequel takes place ten years after the original movie based on the title of the same name, but with a twist to the fairy tale.

Unfortunately, People We Meet on Vacation didn’t hold up quite as well as I’d hoped.

"A Drowning Man" (2017) explores the unseen aspects of the Refugee Crisis. In, 15 far-too-short minutes, viewers are given a detailed snapshot of what it's like for a refugee to drown in the waters of poverty and otherness while trying to navigate a land whose promise has worn off, and only 'strange' remains.