A security guard is enticed to scam a businessman for his insurance money by the man's attractive wife. The trouble begins when he discovers that the husband has ties to the mob.
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.
“Candyman ain't a 'he.’ Candyman is the whole damn hive." Candyman represents all Black victims of white supremacy, and this art form narratively conveys it in a succinct, adulatory way, the history of which is rare to find.
I understand that this would have been consistent with the language used by that generation, due to its role in the medical profession, however as someone who has family members with Down Syndrome I took it very personally.
‘Killers of the Flower Moon’ is preoccupied with plot and not on the greater struggle of the Osage.
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.
The director's latest is a dreamlike exploration of a consciousness torn between two homelands, and the implications of history and memory suspended in limbo.
