"Opus" Is Fun But Doesn't Know Its Own Motivation
Mark Anthony Green was unable to connect all of the pieces in his debut feature film, leaving Opus as a middling entry in an already oversaturated genre.

In 1994, a young musician is seeking for his identity - and his father, The King. He refuses to believe that Elvis is dead. The way leads to Bad Nauheim, Germany. Where The King lived from 1958-1960.
Mark Anthony Green was unable to connect all of the pieces in his debut feature film, leaving Opus as a middling entry in an already oversaturated genre.
The Outer Senshi get characterization and some stellar moments in the second part of the Eternal movie duo.
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.
Mr. Malcolm's List is a pleasant promenade through a fantasy Regency-era England filled with people of color. For fans of Bridgerton, this is the PG version of the show, but with completely colorblind casting and a much lighter tone.
The trouble with Yara (2021) is that in its attempt to tell the whole story, it struggles to tell a consistently engaging story.
A recent look at gender and racial diversity in film shows some signs of progress. However, white men still make up the vast majority of actors and directors in top-grossing films.