
In "Inside Evil: Jeffrey Dahmer," Dateline NBC anchor Stone Phillips confronts Dahmer on-camera, in a prison interview about the victims he killed and cannibalized -- and the urges that drove him. In a rare interview with Dahmer's father, Phillips examines events in Dahmer's childhood that could have pushed him to murder. It's a compelling portrait of a killer and the demons deep down inside him. In "Inside Evil: Son Of Sam," NBC News investigates the infamous serial murder case that terrorized New York City in 1977: did killer David Berkowitz have help in his crime spree, and could other murderers still be at large? Here, in rare video, "Son of Sam" speaks for himself on camera - and makes startling charges about who may really be behind some the crimes.
The July episode of Incluvie Movie Highlights provides 4 exciting films that have polarizing reviews! Special guest and Incluvie movie critic Daleyna joins in to discuss Mr Malcolm's List, a regency-era film set in England, starring leads of Indian and African heritage (Freida Pinto and Sope Dirisu), which is a first! Don't Make Me Go, starring an Asian and Blasian lead (John Cho and Mia Isaac), is a sincere film with a controversial ending! Don't worry, no spoilers. 1Up, about a team of female gamers led by Paris Berelc, who's half Asian, receives acclaim on Incluvie, but much hate everywhere else on the internet. And the feature film... is Nope ! One cohost thinks the film was imaginative, while the other cohost insists it was boring (but with good social commentary)! Who thought what? Tune in with your hosts: Cathy Yee and Hazel Bolivar!
In all honesty, “Black and Blue” is a satisfying experience, complete with solid craftsmanship. With the help of cinematographer Dante Spinotti, Deon Taylor (the director) creates a murky, lived in atmosphere.
Praising Black representation and condemning the power structures that suppress it, a mother delivers an impassioned speech to her distant son.
One of THE most frustrating trends in the mainstream film industry over the last several decades has been the onset of comedy efforts that seem SO focused on being crude and/or gross-out in all ways possible. That, at least for me, makes them no longer funny.
Knives Out doesn’t just defy the whodunit narrative, it uses the weaknesses to its advantage. It’s well aware of the genre’s faults and tropes