On a quiet night drive, an ordinary cab driver and a talkative passenger share a seemingly harmless conversation but as the night unfolds, one moment changes everything, blurring the line between guilt, survival, and morality.
“Candyman ain't a 'he.’ Candyman is the whole damn hive." Candyman represents all Black victims of white supremacy, and this art form narratively conveys it in a succinct, adulatory way, the history of which is rare to find.
Amanda Riley gets the opportunity to travel to Vietnam for the experience of a lifetime.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.
Barry Jenkins' masterpiece holds up as the story of a lifetime centered on the intersection of Blackness and gay identity.
Adam McKay might have been more concerned with cramming cameos than he was in this story which is a bloated criticism of the rich and famous… delivered unto us by the rich and famous.
This article will cover why this film is categorized as a documentary and concert film.
