A Look Inside the Ivy and Bean Film Series
The tale of two friends spans three films and gives wonderful representation for young girls everywhere.

With over 45 Dove awards, three Grammy awards, and an American Music award, Michael W. Smith has forever enshrined his mark in the music history books. Smith garnered yet another Grammy nod last Friday with a nomination for ‘Best Contemporary Christian Music Album’ for his latest worship effort, ‘Surrounded.’ Dubbed ‘35 Years of Friends: Celebrating The Music of Michael W. Smith,’ music lovers will experience over 35 artists, from all genres, performing a set list to include many of Smith’s 35 #1 hit singles. In addition, 2018 marks the 35th Anniversary of Smith’s Top 10 single “Friends,” which helped introduce his music to both secular and non-secular audiences. Smith once again shared the song with the world when he performed it at the Washington, D.C. memorial service for his dear friend, President George H.W. Bush, last Wednesday.
The tale of two friends spans three films and gives wonderful representation for young girls everywhere.
Its predictability shouldn’t distract from the enjoyment that the pure cinematic imagination behind the camera elicits. It is a movie of crises both moral and mortal, oozing with CGI, and thoroughly enjoyable.
The genres of science fiction and fantasy are not exclusively masculine territory. Over the last few decades, female directors have brought to the screen some of the most visually stunning, intellectually daring, and deeply moving works of speculative fiction. From big Hollywood productions like Wonder Woman and Captain Marvel to independent low-budget films, women filmmakers are making a name for themselves around the world.
'City of God' depicts the cylindrical cycle of violence that is forced upon the underprivileged.
Curry Barker’s film, Obsession, soars in success this past May leaving everyone who has watched it in extreme chills and disturbance. And taking it to new levels of why men are always the root of horror films even when they try not to be.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.