Justin, a brash young lawyer takes a job in Aspen as a Deputy D.A. To make ends meet, he moonlights as a bartender, and shares an apartment with the idealistic Mercedes, a social worker who doubles as a ski instructor on weekends. Sparks fly, but when Justin prosecutes Darla, a widow and favorite social work client of Mercedes, they can kiss their budding romance goodbye. Mercedes takes Justin to task over his strict law-and-order approach, while he simply can't abide her bleeding heart, and hijinks ensue. However, when it appears that Darla is the victim of a much larger conspiracy, Justin and Mercedes must put aside their differences to make sure true justice and mercy are meted out. And they just might find out that they are just opposite sides of the same coin.
The history of Hollywood is as ugly as it is beautiful. Most notably absent from Hollywood history are Black-produced films. “They’ve Gotta Have Us” explores the rise of Black cinema.
Disney has cleverly managed to dance around the misdeeds of their past by scraping by with an insincere action that does very little to incite any long-lasting positive changes.
The plot could’ve really been interesting if the elements of lycanthropy was integrated with perhaps the struggle of identity of being LGBTQ+. It's an experience for so many that as they’re starting to realizing their true selves, they feel like a monster, especially if they come from unsupportive homes or communities. Instead, the horror and transformation elements seem thrown in without contemplation of how this could deepen the narrative.
Shudder makes an incredibly atmospheric docuseries about the darker side of Hollywood mysteries.
'The Invisible Man' triumphs in tension even as it drops the ball on genuine surprise for the audience.
We are constantly being pushed to move on from mishaps and negative feelings. What happens if we're not ready to do so?
