'Jungle Beat: The Movie' (2021)
This animated kids' movie shows viewers two different species--jungle animals and aliens--and how both species coexist.

Frank Rautenbach leads a strong cast as Angus Buchan, a Zambian farmer of Scottish heritage, who leaves his farm in the midst of political unrest and racially charged land reclaims and travels south with his family to start a better life in KwaZulu Natal,South Africa.
This animated kids' movie shows viewers two different species--jungle animals and aliens--and how both species coexist.
A short hybrid film featuring everyone's favorite Disney characters.
The July episode of Incluvie Movie Highlights provides 4 exciting films that have polarizing reviews! Special guest and Incluvie movie critic Daleyna joins in to discuss Mr Malcolm's List, a regency-era film set in England, starring leads of Indian and African heritage (Freida Pinto and Sope Dirisu), which is a first! Don't Make Me Go, starring an Asian and Blasian lead (John Cho and Mia Isaac), is a sincere film with a controversial ending! Don't worry, no spoilers. 1Up, about a team of female gamers led by Paris Berelc, who's half Asian, receives acclaim on Incluvie, but much hate everywhere else on the internet. And the feature film... is Nope ! One cohost thinks the film was imaginative, while the other cohost insists it was boring (but with good social commentary)! Who thought what? Tune in with your hosts: Cathy Yee and Hazel Bolivar!
If “Good Time” was a lean exercise in suspense, “Uncut Gems” is an ongoing panic attack. It handcuffs us to an immoral man, made up of selfishness and unreliability. At every point, Adam Sandler connects himself to this idiotic soul, unearthing the misguided opportunism that comes with gambling addiction
GOAT (2026) opens to the chanting of a crowd: "Roots run deep!" The rest of the film goes on to echo that sentiment, offering gorgeous animation and a heartfelt story along the way.
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.