
Hasan Zaidi's dark comedy The Long Night, a film that owes a debt to Martin Scorsese's After Hours, stars Faisal Rehman as Waleed, a soon to be millionaire software designer. About to begin another night of working late, Waleed gets a phone call from a woman who he has had a long courtship with - although they have never met in person. She demands to see him, and he soon finds himself in a dangerous neighborhood caught up in a murder plot, and on the run from gangsters.
Lin-Manuel Miranda’s 'Vivo' is a children's animated musical rich in Hispanic culture! The story follows a kinkajou as he delivers a love song for a friend.
Unknown Origins promises a cool spin on superheroes and serial killers, but ultimately delivers cheap comedy.
I’m still trying to comprehend the psychological and moral implications of their fascination with each other, or why their almost written-in-the-stars depth of connection makes so much sense.
The more biting satire is reserved for those on top of the power structure, such as the police, while those occupying lower levels are given more nuance and likability, even if they operate on the wrong side of the law. This principle gives Deep Cover its heart.
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.