Quitter les lieux 

Nightbooks, the newest entry in children's horror, honors classic horror films, focuses on themes of acceptance, and has awesome production design.

Strangers in a crowd, exchanging glances, looking away, continually managing to run into each other then part ways, end up at the same diner, find they've rented the exact same vehicles, and are then made to travel together to learn once more whether they can both find genuine adoration and companionship again. This really does, in so many words, sum up the foundational gist of of this new feature film from writer Seth Reiss ("The Menu") and director Kogonada ("The Acolyte", "After Yang"). Yet, it's all only the set-up for the REAL wonder of everything that happens before, during, and in the aftermath of a magical, meaningful journey.

That gut-wrenching feeling you have while watching it is okay but needed, and you, the viewer, will be okay.

At first glance, Black as Night is a strange title choice for a film about vampirism in post-Katrina New Orleans. However, the title alludes to the world's anti-black and colorist messages.

In order to learn why an arguably outdated fanfic trope was resurfacing in the contact zone of popular culture, I dove into a vibrant trough of character development.

Hustlers was meant to be a film about female empowerment. And it was, to a certain extent. I expected and wanted this to be a kickass and complex film of sexy women who use their confidence, skills, and wits towards a brilliant plan to get revenge on the Wall Street guys who wronged them.