Honey Don't: Sizzles, Before Fizzling
Like Fourth of July fireworks, the film Honey Don’t is colorful and fun to look at, delivering many bangs (sex and guns!) for your buck before quietly fading out.

Years later, he is released from prison, where he had been serving time for a murder he committed in the name of honor. By chance, he meets Perihan, who works at a nightclub, and falls in love with her. The reason he becomes so attached to her is that she closely resembles Aysel, his former lover who left him years ago to marry someone else.
Like Fourth of July fireworks, the film Honey Don’t is colorful and fun to look at, delivering many bangs (sex and guns!) for your buck before quietly fading out.
The film does not add anything to its own conversation or genre, and falls flat once it’s about to end and must declare some sort of conclusion.
"Come Play" was entertaining and had some great ideas about how to scare children away from playing with facial recognition settings.
It's not love. It's Obsession. The hook of this movie is the tension between wanting to be loved and the fear of being all-encompassed by that love. It plays on men’s typical (though certainly not universal) inner-conflict
Joel Coen has gone solo to create perhaps the greatest version of Shakespeare's 'Macbeth' since Shakespeare himself.
In Spike Lee’s She’s Gotta Have It (1986), we follow the love life of powerful female protagonist Nola Darling (Tracy Camilla Johns) and explore the relationship dynamics she has with her partners. She sees three men simultaneously: Greer Childs, (John Canada Terrell) Mars Blackmon (Spike Lee), and Jamie Overstreet (Tommy Redmond Hicks). Though an 80’s film, She’s Gotta Have It is surprisingly progressive with its themes of female sexuality, although at some points in the film it is handled clumsily. Overall Nola is an incredibly compelling character especially for modern women, as we as a society acknowledge female sensuality more and more without the negative stigma.