"King of Saboteurs" - Ernst Wollweber, German communist, active in Sweden during the Second World War, eventually Stasi commander in the GDR, finally purged and forgotten. Ernst Friedrich Wollweber (1898 - 1967) was State Secretary of State Security from 1953 to 1955 and Minister of State Security of the German Democratic Republic from 1955 to 1957. He rose quickly through the party ranks and by 1921 had become a member of the KPD's Central Committee and Political Secretary of Hesse-Waldeck. When the KPD was outlawed in Germany after the Reichstag fire of February 1933, Wollweber was forced to flee to Copenhagen and later to Leningrad. From 1936 to 1940, Wollweber organized the "Organisation Against Fascism and in Support of the USSR", better known as the Wollweber League. After World War II, Wollweber returned to Germany and joined the Socialist Unity Party of Germany in 1946.
When the world lost Chadwick Boseman on August 28, 2020, we all saw the impact of representation in film. Boseman was not only a Black superhero leading a Black cast in one of the most successful films in history; but his successes paved the way for more, long-overdue diversity in Hollywood.
The film blends reality and the supernatural world together, leaving the viewer unsure of what’s real and what’s merely a figment of Michael’s agitated imagination.
Films about casinos have long been a favorite of Hollywood. This is unsurprising, as they're often tied to magnetic characters whose lives revolve around luxury, spectacle, and even danger.
When a powerful church leader is found dead, Benoit Blanc enters a tight-knit community where everyone has secrets, but not everyone is fully developed.
Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.
I imagine that it would be a dream job for an actor to play the parts of twin brothers Dominick and Thomas Birdsey in I Know This Much Is True.
