The Blues, and Two Contradictory Films That Claim It
Crossroads follows a young guitarist on a journey through the American South in search of blues history and his own voice.

89 tells the incredible story of one of football’s greatest triumphs: when against all odds Arsenal snatched the Championship title from Liverpool at Anfield in the last minute of the last game of the 1988/89 season. It’s a universal tale of a band of brothers who, led by a charismatic and deeply respected manager, came together to defy the odds and create history.
Crossroads follows a young guitarist on a journey through the American South in search of blues history and his own voice.
At first glance, one wouldn't think John Carpenter's cult classic would be a thematic double-billing - or that Free Guy would be worthy of being mentioned in the same sentence as They Live - but the two films of vastly different genres have more similarities upon further examination.
In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.
Even without the messaging, Mercy does not hold up as a movie. It's sloppily done and the mystery doesn’t tie together at the end.
For the most part, 'Sweet Girl' recycles tired hyper masculine revenge tropes, but a surprise twist in the end turns it into a female-centric revenge film.
It is not hard to make a musical biopic that pleases audiences and draws a profit. Michael is no exception.