Shane, a struggling thirty-year-old caddie, stumbles into a new gig: a private eye for a New Jersey nightclub owner.
The history of Hollywood is as ugly as it is beautiful. Most notably absent from Hollywood history are Black-produced films. “They’ve Gotta Have Us” explores the rise of Black cinema.
The characters aren’t likable, the story is predictable and the humor is either disgusting, obnoxious, or uncomfortable. The Wrong Missy is a mess of a film and it’s not really worth your time.
With mismatched eyes, a willingness to experiment with hair color and style, and a rail thin frame, Bowie always drew attention. But he shunned gendered attractiveness, creating his own space somewhere in between. This hallucinatory and often nonlinear 2022 documentary is a perfect salute to David Bowie’s life and career. Rather than interviewing those that knew Bowie, the standard convention for biographical portraits, director Brett Morgen mostly lets the artist’s images, performances, videos, and words speak to capture the essence of the artist. Bowie was more than just a pop star. He painted, sculpted, acted in films, and was a thoughtful and articulate person who gave sincere answers to even the most shallow interview questions.
Rather than following in the footsteps of poorly made horror flicks, “The Quiet Place” follows original concept.
On the Road captures the bleak, hyper-masculine world of long-haul trucking in Northern Mexico, where anything can and will happen. A hard-boiled, neon-noir romantic thriller, it shows the gritty reality of roadside diners, truck stops, and truck cemeteries alongside the expansive, breathless beauty of the Mexican desert highways.
It’s passionately protective of the women mentioned in the story or appearing on screen. Just like the article and the #MeToo movement, the film could help a trapped person find the courage to fight back.
