Lisoso Mathias has received news that his illness is terminal and that he needs to put his house in order within six months before his demise. But Njoh aka Kabongo, his elder brother is eagerly waiting for that day as he stands to inherit all of Lisoso’s property (which includes his wife Veronica and children, Sonia and Loise) as demanded by tradition if the dead man has no male child. But Sonia is declared the heir on the day of the will reading by the barrister appointed by Lisoso. Kabongo enlists his idle son and his cohorts to track down the Barrister and reclaim the will. He sets out to eliminate any witness to the will. Without a will not witnesses, will tradition prevail over the Dead Man’s Wish?
Ever heard of the bad boy type? The type of man who's sexy yet broody, or the type of man who’s dangerous but has a sensitive side? It’s a well-known stereotype that women are attracted to villains. The question is: why are we?
It surely isn't for everybody and could certainly offend some folks, but Troll Hunter takes a different approach to representing religion in a film.
Juno is extremely funny, very well-written, and contains great performances. The film is also about a very important topic, one that is extremely relevant now: women’s reproductive rights. Is this Oscar-winning film spreading a pro-life or pro-choice message to its audience?
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.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.
It’s been awhile since I’ve seen a film that is jarring within the first five minutes. Being at the edge of my seat from the very beginning made me feel both excited and frightened for what was to come, and it did not disappoint. Led strongly by Jennifer Lawrence as Grace, a woman trapped in the “American dream”, this film shows that society tells us what should make us happy. Many critics describe Die My Love as being about post-partem depression, but it is so much more. After moving to a secluded home with her husband Jackson, Grace finds herself in the throes of motherhood. Feeling isolated in her physical environment and her romantic relationship, Grace suffers psychologically. Lawrence brings a sense of rawness and humor to the screen that is often uncomfortable. Robert Pattinson adds to the discomfort as her loving, yet lost husband Jackson, who cares about his wife but does not know how to help her. Lynne Ramsay has presented a film that forces us to look at the realness of life, and what happens when the promise of what should make you whole fails.
