Get your CB out and come up with a good "handle" cause it's time to roll! Legendary but tired ex-television star Duke Marietta is bet half a million dollars against his big rig that he can't for real what Burt Reynolds did for pretend in "Smokey and the Bandit!" With many winks and nods to both the movie and Dukes of Hazzard, this Tongue-in-cheek adventure is not only aware it's a movie but that it's a movie within a movie! A great action packed laughed fill ride for that Southern car comedy fan in you or a great introduction to folks unaware of the thrill of a fast car.
The singer recounts the memories of writing and creating her record-breaking debut album and shares her feelings as a young woman navigating a specific time in her life.
In Spike Lee’s She’s Gotta Have It (1986), we follow the love life of powerful female protagonist Nola Darling (Tracy Camilla Johns) and explore the relationship dynamics she has with her partners. She sees three men simultaneously: Greer Childs, (John Canada Terrell) Mars Blackmon (Spike Lee), and Jamie Overstreet (Tommy Redmond Hicks). Though an 80’s film, She’s Gotta Have It is surprisingly progressive with its themes of female sexuality, although at some points in the film it is handled clumsily. Overall Nola is an incredibly compelling character especially for modern women, as we as a society acknowledge female sensuality more and more without the negative stigma.
Not only does the system prevent upward mobility, but it makes it incredibly easy to slide from comfortably middle class to unhoused.
As a huge fan of Sean Baker’s Tangerine, The Florida Project, and Red Rocket, I’ve wanted to watch Anora since before it even was released. But life got in the way, my watchlist grew, and honestly, the fact that it was marketed as a romantic comedy put me off. Even with all the critical praise and the five Academy Awards it won last year, I just kept postponing it indefinitely.
Two movies that do a fantastic job in conveying the ongoing struggle for racial justice are Selma (2014) and Just Mercy (2019).
When diverse representation is featured on-screen, it oftentimes comes with strings attached that undermine the message they were trying to send. This can be attributed to the fact that behind-the-screen, the industry primarily does not reflect the breadth of diverse difference that is present in daily life. That’s why when something as powerful and authentic as Minari comes along, it is both incredibly wonderful and needs a large audience to witness it.
