Race Memories (1913)

Over the last several years, I have had the privilege of being one of the critics having the opportunity to watch and review several films from writer/director/producer Marcellus Cox, whose efforts are never anything less but grounded, relevant, and steeped in unflinching glimpses illustrating the gripping, inspired, and ever-vacillating realms that make up the human condition.

I Love You Forever, marketed as a “subversive” romantic comedy is in fact a painful horror film about a young woman deep in the throes of an abusive relationship.

Self expression among teenagers is explored in the live adaptation of Jerry Spinelli's novel of the same name.

You can have the best filmmaker and cast in the world, but if the script is lacking, you’re in a troublesome state. Such is the case with Gemini Man, a film full of tremendous artists.

A Girl Walks Home Alone At Night, though its feminism may be unintentional, cannot exist without its focus on women reclaiming power. The movie is feminist by definition, even if Amirpour didn’t write it with that in mind. A Girl Walks Home Alone At Night is mesmerizing, poetic, and stunning, both for its portrayal of feminist ideas and its powerful story that is both horrific and subtly romantic at once.

Omaha reminds us of what it can feel like to look at old family photographs.  You sit with the bittersweetness, allowing it to wash over you; not drowning in it, but certainly affected by it.