"A man has got to see his face." Horror Noire: A History of Black Horror
This documentary moves chronologically through Black representation in horror films, revealing the genre's connections to Black history.

Henia will give anything to mend her broken past and find her mother, from whom she has been separated since the conflict between Morocco and Algeria during the Black Demonstration of 1975. After being given an opportunity to assist an elderly blind man, she accepts the offer and eventually finds herself agreeing to marry him. For Henia, this is a chance to get the necessary papers for her return to Algeria. For the old man, it’s a chance to start over. For his son, it is a disgrace.
This documentary moves chronologically through Black representation in horror films, revealing the genre's connections to Black history.
We’ve always known that Edgar Wright is a mixologist when it comes to blending sound, light, colour, and texture. This is especially true in the first act of the film. In fact, all of my positive feedback is directed exclusively at the first act of this film.
Another uneven "Guess Who's Coming to Dinner" redux that says nothing novel about its subject matter.
Disney's live-action remake is vibrant and beautiful, with updated music and classic enthusiasm, but it fails to push the envelope and provide nuance for Ursula.
There’s enough evidence to insinuate that What We Do in the Shadows is intentionally queer-coded.
The definition of the word foul is “offensive to the senses,” which is a pretty good summation of the new Disney+ film, Artemis Fowl