Jack Richards, a professor in his 50's, has apparently gone mad over the supposed abduction of his daughter by a sinister cult. Wallowing in self-pity for years, he decides to commit suicide. However, the manner in which he decides to suicide is quite peculiar: he allows himself to be abducted by a cult, whose members treat him as their "king" for one year (he is given a castle, concubines, gifts, etc...), and then murder him as an atonement for their yearly sins.
At 2:17 a.m., every child in a third-grade class wakes up, leaves their home, and disappears into the darkness—except one. The next day, teacher Justine Gandy discovers that Alex Lily is the only student left, while the rest have vanished without a trace. Did Justine have something to do with it, or is a far more sinister force stalking the town, targeting not just children, but anyone in its path?
Fjord, like its story, is not a conclusion, but a beginning.
"Hustlers" returns power to groups that are traditionally deprived of it: women, the working class, and sex workers.
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.
James Cameron’s “Aliens” (1986) is a pinnacle of science fiction storytelling. Within this classic monster movie lies a powerful female character, Ellen Ripley (brilliantly portrayed by Sigourney Weaver).
On top of the phenomenal acting, and great dialogue between the two characters, the cinematography was ravishing! The sound was outstanding! The production design was simple, yet intrinsic. The minimalistic approach in the Malibu beach house represented how little they really have going on in their relationship. The storyline may have been much simpler than "Who's Afraid of Virginia Wolf," but all the more insightful, and much more animalistic at its core.
