It Goes all the Way to the Top: Motherless Brooklyn
'Motherless Brooklyn' is a 1950s whodunit made by its star, Edward Norton. Like most detective films in this setting, the cast is mostly white males (with a few notable exceptions).

Mustafa Khan Ilchi (Trous) decides to marry off his daughter Maryam to a wealthy old man to save himself from bankruptcy. Maryam, with sadness, leaves her father's house, and in the street, after being harassed by Sosol and Topol, a young wrestler named Sharif arrives and takes Maryam to his mother's house. Mustafa Khan announces his daughter's disappearance in the newspaper, and Sosol and Topol extort money from him by pretending to know Maryam's whereabouts. Sharif's mother, seeing Maryam's picture in the newspaper, asks her to leave their house. After leaving the house, Maryam encounters a blind girl in a coffee shop and gives her necklace and clothes to her. The blind girl is killed by falling into the river, and newspapers report that Maryam has committed suicide. Sharif, with Jafar, Mustafa Khan's driver, goes in search of Maryam and finds her in a village. Sharif defeats his Italian opponent Alberto in a match, and Mustafa Khan embraces him and his daughter on the wrestling mat.
'Motherless Brooklyn' is a 1950s whodunit made by its star, Edward Norton. Like most detective films in this setting, the cast is mostly white males (with a few notable exceptions).
The re-living of this historic trial through this film is relevant to current politics and disturbingly enjoyable to watch due to the excellent performances from the ensemble cast. If you like a juicy courtroom drama, this film will definitely scratch that itch in a really chilling manner.
Initially feeling like a passionate group having a bit of harmless fun with filmmaking, it leads to something sinister enough to leave a mark.
An in-depth discussion about anti-Black discrimination in college and professional football.
'Ms. Davis’ Close Friend' will make you think about the meaning of death and what it means to be alive, and if there’s really a race to be run with one's inevitable demise.
All in all, “Event Horizon” is a cinematic misfire, begging to be perfected in the future. While it possesses an array of admirable visuals, the film leaves much to be desired. If only we could see Anderson’s preferred cut, which featured more character development and tortuous imagery. In the meantime, I have a catchphrase for this film: In space no one can hear you snore.