‘Thunderbolts*’—A Spark of Hope in Dark Times
After years of mediocrity, Thunderbolts* is the welcome change MCU fans were waiting for.

After ten years in prison, vicious crime boss Mario Blanco is out for revenge. Revenge against the cop that put him away. Revenge at any cost! But David, the officer that sent Blanco to jail has been in hiding since quitting the force after exposing police corruption. Blanco's vengeance knows no bounds, as he goes on a murderous rampage, killing David's son, beating his wife, and raping his daughter. Now it's David's turn to fight back! He wages a one-man war against the syndicate, killing anyone that gets in his way. For the mobster, it's a case of eye for an eye justice. For David, it's EXTREME VENGEANCE...
After years of mediocrity, Thunderbolts* is the welcome change MCU fans were waiting for.
With This is Us now on its fifth season and A Million Little Things on its third, we have a lot of material to entertain the hypothetical: if these two shows got in the ring together, who would come out victorious? Despite the endless recognition for the former’s success, I dare say I’d put my money on A Million Little Things once all is said and done.
All in all, “Event Horizon” is a cinematic misfire, begging to be perfected in the future. While it possesses an array of admirable visuals, the film leaves much to be desired. If only we could see Anderson’s preferred cut, which featured more character development and tortuous imagery. In the meantime, I have a catchphrase for this film: In space no one can hear you snore.
How do zombie films shine new light in the post-Covid and post-Brexit era?
On March 31st, International Trans Day of Visibility, following some COVID related delays, the trailer was finally dropped, and although Taylour Paige and Riley Keough look to impress as lead characters Zola and Stefani, a brief cameo from a queer icon was what convinced me I have to see this movie.
'Ganja & Hess' is a 1973 experimental horror film, written and directed by the visionary auteur Bill Gunn. It was meant to be a straightforward blaxploitation film – but director Gunn had grander ambitions.