"In the Heights" Review
Lin-Manuel Miranda's Tony-winning musical translates beautifully to the screen.

Andalusia. Summer. One of the world's worst places to fight a fire, where temperatures up to 45º meet with vast vegetation. To fight them, there is a special organization, an elite group, the tackles fires in a way that is unique in the world: direct attack. This group is called BRICA. A helicopter transports them to the front line of the fire and, armed only with chainsaws, axes courage, they fight flames that are 50 meters high. Through three of its members - Gustavo, the leader; Abarca, the veteran about to retire; and "Curiño", the rookie who has just joined the group- we see their day to day lives.
Lin-Manuel Miranda's Tony-winning musical translates beautifully to the screen.
Netflix’s new rom-com, Voicemails for Isabelle (dir. Leah McKendrick), isn’t just heartwarming, funny, and an achievement in female directing - it’s also an instant classic. Following 20-something aspiring baker Jill (Zoey Deutch), Voicemails for Isabelle tells a story of grief, self-discovery, and fateful connections. Ever since her beloved sister Izzy’s (Ciara Bravo) death, Jill has been leaving her hilarious, extremely TMI voicemails about her chaotic love life and miserable day job as a prep cook. Little does she know that a handsome and unsatisfied real estate agent in her hometown has inherited the number and practically fallen in love with her by listening to her stories.
As a musical fan, I enjoyed the film and encourage anyone who likes dark humour and a bit of blood to give it a watch.
A Black woman centered in a box office rom-com with a happy ending and no struggle love.
The Season 3 finale overall upholds everything that Incluvie is primarily concerned about when it comes to media content
"WHAT ARE YOU WILLING TO SACRIFICE?!!!!" "EVERYTHING!!!!!" This is but one of a multitude of highly emphatic questions, and subsequent answers, being asked in the newest feature film from one of the current masters of horror, Jordan Peele ("Get Out", "Us" and "Nope"). I must give Peele credit in that he continues to push the boundaries of specific genres and their associated tropes in order to provide what ends up amounting to subtly then jarringly intense, yet still character and story-driven, cinema that speaks more to indie stylings than mainstream.