Fish River Anthology 

Another uneven "Guess Who's Coming to Dinner" redux that says nothing novel about its subject matter.

‘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.

If Miguel Alexandre were trying to make a revenge story seem dull without using all the effective formulas that work great in this catchy genre, he could not have accomplished his purpose much better than he unintentionally has in Black Island.

Though 'Bound' technically falls under the genres of crime and thriller, the film's heart is a romance between two women.

Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.

Mona Fastvold’s nineteenth century lesbian romance is emotionally charged, restrained, and poetic without feeling forced.