Devil's Horse 

In addition to the cast being delightfully diverse this time around, the film was just loosely-plotted and action-packed enough to keep a casual fan like myself entertained. While I do agree that the writing of Cole left much to be desired for an original character thrust into a preconceived universe, none of the characters seemed particularly fleshed out in terms of personality; however, I think that's to be expected when you're watching a film literally inspired by a video game.

He’s a nine-time Oscar host and a revered comedy legend. He’s an up-and-coming comedy star who was a voice in the biggest animated movie of all time. So what happens when these two are forced to work together?

I write for a diversity-focused film review blog, so I’ll be honest: I really wanted to like Pretty Lethal. Starring Maddie Ziegler, Lana Condor, Iris Apatow, Avantika, and Millicent Simmonds, Amazon Prime’s new thriller seemed like it would be a girl power movie about dancers with a horror action twist. Sort of a Suspiria for teens. But with shallow and unlikeable characters, a confusing plot, an overreliance on violence, and cringey dialogue, any fun the movie started out with was quickly lost. What was left was a faint echo of greater horror movies about dancers made before. 

Netflix’s Shadow and Bone has a complicated relationship with race. It has a diverse cast, but not without its problems. Based on Leigh Bardugo’s two book series, the show features characters from the Shadow and Bone trilogy, which is very straight and white, and the Six of Crows duology, which is much more diverse. When bringing together a cast and writing about these characters, the team behind the show expanded upon some of the representation missing from the first trilogy, then seemed to take away representation from the duology. Shadow and Bone seems to play a bit of a push and pull game when it comes to portraying diversity onscreen.

For one widowed father and his five kids, an extraordinary gift will change their lives forever.

Mark Anthony Green was unable to connect all of the pieces in his debut feature film, leaving Opus as a middling entry in an already oversaturated genre.