What Sinners Gets Right About Family, Fear, and the Fight to Stay Human
The quiet ache of guilt sitting at the dinner table, the silence after a truth is buried, and the way pain is passed down like a name.

On March 1, 1996, 15-year-old Shafeeq Murrel was killed on the street in South Philadelphia — innocently caught in the crossfire between rival pairs of crack dealers out for revenge. Shafeeq’s murder was one of 435 in Philadelphia that year, and it was soon shelved as a cold case. Then, detectives David Baker and Julie Hill took it on— two middle-aged white cops working a Black neighborhood in their battered Plymouth Gran Fury. Filmed like a taut police procedural, THE SHOOTING ON MOLE STREET chronicles the investigation, as Baker and Hill knock on doors, shake down dealers, and beg, threaten and cajole residents in an effort to get someone — anyone — to talk. Baker rejects any accusation of police racism in the unsolved murders of young Black men. Isn’t he out here trying to close the case? But racism is more complicated than intent.
The quiet ache of guilt sitting at the dinner table, the silence after a truth is buried, and the way pain is passed down like a name.
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.
Bong Joon Ho’s masterpiece, Parasite (2019) became one of the few international films to break into the American mainstream.
Gritty and bleak are the best words to describe this film. There’s nothing happy about it.
Dead Poets Society relies on patriarchal tropes such as overbearing fathers, contrived brotherhood, and faux-individuality in order to portray its straight white male characters as oppressed.