Revisiting ‘Shaft’ in 2019: The Father-Son Comedy That Cops Out
The 'Shaft' remake fails to capture blaxpoitation's rebellious spirit.

For many, the happy twenties were not very happy, with high unemployment, poverty and a bitter disillusioned youth. But at the same time there was prohibition in Norway, with large-scale smuggling and easy-earned money. Ernst, an unemployed architect, stumbles onto the smuggler path, and replaces a gray, boring life with a lush, rowdy and colorful world. Klara, the girl he loves, walks away from him, and Jenny becomes his new girlfriend. Together with Hugo and Elsa, these four make a number of smuggling trips by car - with big profits - but it's not enough. So Ernst invests in boats, and that's when the really messy smuggling starts. He operates in the entire Oslo Fjord, all the way down to Rotterdam, pursued by police and customs, with his infamous torpedo boats. We follow Ernst all the way to the so-called Bygdøyslaget, where smugglers and police brutaly clash together.
The 'Shaft' remake fails to capture blaxpoitation's rebellious spirit.
The more we learned with each passing minute the bigger the reveal. This film ends with a serious bang and it was truly a joy to watch.
America is the crux of the storyline: she is the only person in existence with the power to jump between universes. As central as America is to the Multiverse of Madness story, she somehow didn’t get that much to do.
The movie opens with an empty house, cameras pan around from the perspective of what viewers are confused about at first, but turns out to be a spirit living in the home.
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.
The history of Hollywood is as ugly as it is beautiful. Most notably absent from Hollywood history are Black-produced films. “They’ve Gotta Have Us” explores the rise of Black cinema.