Master: The Horror of Deceptive Racial Politics in Academia
“It's not ghosts. It's not supernatural. It's... It's America. And it's everywhere.”

Albert (John Savage) is a psychopath who, after brutally murdering a woman, becomes obsessed with her 11-year-old daughter Annie. Twenty-one years after being sent to prison for his crimes, Albert is freed over the strenuous objections of Dr. Sachs (John Saxon), the psychiatrist who has been overseeing Albert's case all these years. Sachs is convinced that Albert is still a very real threat to the community, and it turns out that he's right; desperate to find Annie, but not knowing what surname she uses today, Albert begins contacting every Annie he can find in the phone book, leaving a bloody trail of murdered women in his path when they turn out not to be the little girl he's looking for
“It's not ghosts. It's not supernatural. It's... It's America. And it's everywhere.”
Gretel & Hansel falters due to its razor thin story and lack of characterization. It loses sight of horror’s key rule: In order to create an effective tale, characters and emotions must be emphasized.
To say Hollywood has had a troubled past is the understatement of the century. In Ryan Murphy’s (American Horror Story) new Netflix series, Hollywood, that past is confronted and even rewritten.
I love The Last Jedi. I don’t think there has been a Star Wars movie in quite some time that brought something new, something fresh to the table.
Wes Anderson offers a light-hearted comedy in the Middle East centering around Catholic motifs.
The Season 3 finale overall upholds everything that Incluvie is primarily concerned about when it comes to media content