"In the Heights" Review
Lin-Manuel Miranda's Tony-winning musical translates beautifully to the screen.

Alienated and cold, The Mortician (Method Man) processes the corpses with steely disregard. He is lonely and isolated. He is introduced to his new employee, Noah, (EJ Bonilla) by the morgue boss (Edward Furlong). Noah is a volatile youth working as part of his parole.Noah brings the notorious gangster, Carver (Dash Mihok), and his crew to the mortuary door. The Mortician's attention is pricked by the tattoo of Botticelli's 'Birth of Venus' inked on the body of a murdered woman (Judy Marte), that arrives at the morgue, triggering a series of haunting dreams from his childhood. Discovering a scared child, Kane (Cruz Santiago), fleeing the morgue, he's forced to act. They become reluctant allies, struggling for redemption as they run. Through his awkward heroism, the Mortician reconnects with his long forgotten past, and finds the answers he's been searching for. He find redemption and peace.
Lin-Manuel Miranda's Tony-winning musical translates beautifully to the screen.
This is ambitious horror filmmaking, and in a lot of ways, I fully admire its ambitions. For me, the film’s sloppiness defines its overall quality.
The 1950s lesbian romance is stunning, emotional, restrained, and, simply put, one of the best movies I’ve ever seen depicting a woman-loving-woman (WLW) relationship.
Paris is Burning elevated drag and ballroom into the public consciousness and permanently impacted LGBT culture. However, the performers featured in the documentary didn't reap the rewards of their visibility.
A commentary on the exploitation of the elderly fueld by the inherent greed of capitalism.
A bumpy journey about revolution and family makes us feel fear, disgust, humor, and satisfaction.