In the sequel to "The House on Mansfield Street," the unsettling mysteries persist in the quiet neighborhood. James Waring goes missing after moving in with his friend Anthony on Mansfield Street, where they are disturbed by the sounds of violent fights from the supposedly vacant house next door. To unravel the enigma, they befriend Laura, a seemingly helpful neighbor with a claim of expertise in banishing supernatural disturbances through witchcraft. However, as they seek her assistance, they inadvertently unlock an ancient evil that threatens their very existence.
On March 31st, International Trans Day of Visibility, following some COVID related delays, the trailer was finally dropped, and although Taylour Paige and Riley Keough look to impress as lead characters Zola and Stefani, a brief cameo from a queer icon was what convinced me I have to see this movie.
Court TV shows offer uncritical eyes on the systemic inequalities of the legal world.
It took writers D.B Weiss and David Benioff two years to give us a promising final season. Two. Years. It was just going to be six episodes, which was short considering that all the other seasons — except season 7 — were 10 episodes. 10. 6 wasn’t enough, and even HBO wanted to give the writers more episodes. More seasons, even. However, the writers wanted to get out of the show as quickly as possible to work on other projects. This abruptness is clearly shown in this season.
A Black woman centered in a box office rom-com with a happy ending and no struggle love.
Naked Gun: The New Police Squad Team delivers exactly what fans want: relentless, expertly crafted chaos that honors the original while cranking everything up to eleven. The gags fire at machine-gun pace—sight jokes layered with wordplay and physical comedy so outrageous it borders on art. It's gleefully self-aware without being cynical, silly without being stupid, and maintains that perfect ZAZ-style balance of treating absolute absurdity with complete seriousness. The film knows exactly what it is: a comedy missile designed for maximum laughs, and it hits its target with surgical precision. Pure, unhinged entertainment that proves spoof comedy still has plenty of life left in it.
From the cinematography to the script to the acting, Sorry, Baby is undoubtedly one of the best films of the year.
