Break In (2020)

Over the last several years, I have had the privilege of being one of the critics having the opportunity to watch and review several films from writer/director/producer Marcellus Cox, whose efforts are never anything less but grounded, relevant, and steeped in unflinching glimpses illustrating the gripping, inspired, and ever-vacillating realms that make up the human condition.

At Coopers Chase, murder isn’t just tragedy—it’s Thursday’s entertainment. Chris Columbus’ The Thursday Murder Club transforms Richard Osman’s bestselling series into a cozy, clever whodunit where Helen Mirren, Pierce Brosnan, Ben Kingsley, and Celia Imrie prove that life’s sharpest twists don’t stop with age. With llamas on the lawn, cakes at the ready, and secrets around every corner, this star-powered mystery balances charm, humor, and heartache, reminding us that friendship, resilience, and reinvention might just be the ultimate clues.

The Brazilian filmmaker Alexandre Alonso’s Hunter is a film with a lot of ideas, but with very little holding those ideas together.

While the camera is objectifying her body to invoke a sexual response in male viewers, Lara Croft still defies the expectations of women in action films.

t’s relatable and heartbreaking all at once, and it’s impossible to watch Happy Together without reflecting on oneself. The film is stunning in every aspect, and is a vital piece of LGBTQ cinema.

Dead Poets Society brilliantly combines defeat and optimism, rejection and love, craziness and daring, fear and freedom.