Could ‘Wakanda Forever’ Be Nominated For Best Picture?
Being made after the death of Chadwick Boseman will be a hard but exciting ride for this Marvel entry.

Colombian Drug Lord Mannel Ramirez is lured to Los Angles to retrieve his millions in Blood Money after the chance death of his brother. Jeff Rollins, who is a DEA agent, is alerted to Ramirez' arrival by his partner Harold McBain. Ramirez is tough and smells a double-cross. A trail of death follows Ramirez after he arrives in L.A. The last man in his way is Jeff, who he quickly stabs. But is it safe for Ramirez to get his money from a bank vault that only he can open? Jeff Rollins, left for dead, reaches his younger brother Campbell before he dies, Campbell, a college senior, and his girlfriend Jessica, are now involved. Campbell, an unlikely hero, is now caught in a double intrigue and must avenge his brother's death. He is willing to stop Ramirez at any cost.`
Being made after the death of Chadwick Boseman will be a hard but exciting ride for this Marvel entry.
We, the Jane Austen aficionados, are suckers for everything and anything under the sun that’s remotely related to her and her world. That’s because we are so drawn to her unique style of fiction, romance, and social commentary, we take any allusion to her influence as a hint to what to expect when we start watching a movie or reading a book.
The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.
Moonlight is a film that will certainly be remembered for how it won Best Picture, but the movie itself should be known for its excellent representation of one of the most underrepresented groups in film: Black, gay men.
Rather than focusing on the bleak, cynical aspects of life post-pandemic, the focus is optimistic and hopeful.
In all actuality, “Just Mercy” should be labeled a “wall punching narrative.” Constantly, the flick throws high forms of adversity our way, amping up our most inner levels of discomfort. Filmmaker Destin Daniel Cretton wonderfully paces the film in such a way that replicates the slow-burn nature of justice.