
It is just possible that the made-for-TV biopic Muhammad Ali: King of the World was hastily pieced together to capitalize on the popular theatrical documentary When We Were Kings and the publicity attending the upcoming Will Smith movie vehicle Ali. Actually, the title of the TV film was something of a misnomer, since the story covers the formative days of Ali's career and fame, when he was still fighting under his given name Cassius Clay. Played by Terrence DaShon Howard, the young Clay slugs his way from poverty-stricken obscurity to the 1960 Olympics, garners both positive and negative publicity with his incessant self-worship and improvised rhymes, and proves that he is more than just talk when he defeats Sonny Liston (Steve Harris) in 1964. It is in fact at this point that the film draws to a close, with a few hints of what is to come manifested in an early meeting between the impressionable Clay and Islamic activist Malcolm X (Gary Dourdan).
The fun tricks used in the production design and lighting read extremely well on-screen but hardly fulfill their purpose of trying to inject glamour into a lack-luster story with nothing to say.
“Jumanji - a game for those who seek to find, a way to leave their world behind...” A nostalgic classic that remains unnerving, "Jumanji" draws audiences into a chilling adventure.
YouTube surpasses Netflix but there is more to the story.
Its predictability shouldn’t distract from the enjoyment that the pure cinematic imagination behind the camera elicits. It is a movie of crises both moral and mortal, oozing with CGI, and thoroughly enjoyable.
'An American Werewolf in London' possesses a possible queer reading in the way it envisions a heterosexual romance being undone by the presence of a creature who embodies self-contentment in the face of social alienation.