Beginning in 1965 with Black Is, Tambellini launched a series of politically charged experimental films that explore the expressive possibilities of black as a dominant color and idea. For the most part Tambellini’s seven “black films” are made without the use of a camera but rather by carefully manipulating the film itself by scorching, scratching, painting and treating the film stock as a type of sculptural and painterly medium.
"King Richard" paints a nuanced portrait of a Black father trying to ensure his daughters’ success in a racist, misogynistic world. Yet, Richard and his kids overcome that fear and adversity to succeed.
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.
Scene-stealer Melina Kotselou brings infectious queer joy and non-binary representation to the third installment of Nia Vardalos' 'My Big Fat Greek Wedding' franchise.
True crime media is notoriously obsessed with the “missing white woman” trope, and yet the vast majority of American murder victims are male, and well over half are people of color.
So with the recent (rightful) public apologies to Britney from comedians and media for trashing her image in the 2000s, perhaps some people should also give Crossroads the fair chance it deserves. It won't be everyone's cup of tea, and that is fine. Personally, I will take my girl Britney and her movie, over the next testosterone "Dude Flick" any day.
Being made after the death of Chadwick Boseman will be a hard but exciting ride for this Marvel entry.
