Grand Theft Hamlet (2025)

Darren Arronofsky focuses on diverse and heartbreaking stories about the human experience.

The film blends reality and the supernatural world together, leaving the viewer unsure of what’s real and what’s merely a figment of Michael’s agitated imagination.

I'm bad, and that's good. I will never be good, and that's not bad. There's no one I'd rather be than me.

With such a raw look at the 15th century, it seems that Disney was really trying to step outside of its element with this motion picture. 

Over the last several years, I have had the privilege of being one of the critics having the opportunity to watch and review several films from writer/director/producer Marcellus Cox, whose efforts are never anything less but grounded, relevant, and steeped in unflinching glimpses illustrating the gripping, inspired, and ever-vacillating realms that make up the human condition.

‘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.