A female vocalist breaks with her manager and sets to work with an old man of his band. The involvement of the gay, Super8 addicted friend of the manager leads to increasingly high waves of frustration, treachery, humiliation and cruelty.
At its heart, it’s a fond tribute to an influential artist and thus one that can speak to everyone’s inner artist, even if it lacks the sincere commentary you may wish to see.
The sparks of a dangerous conspiracy ignite a mystery in this sequel based on the mysteries of Sherlock Holmes.
There’s been a longstanding criticism of sci-fi films about its lack of Black characters. For the past few years, Anthony Mackie has been successfully representing Black masculinity in the otherwise homogenous genre and I am here for it.
Nick Rowland’s She Rides Shotgun is a blistering, blood-soaked road thriller that doubles as a bruised love story between a haunted ex-con (a career-best Taron Egerton) and the daughter he barely knows (astonishing newcomer Ana Sophia Heger). Fueled by white-knuckle chases, razor-tense shootouts, and quiet moments of aching tenderness, the film captures both the terror and fragile beauty of survival. It’s gritty, heartbreaking, and unforgettable—a father-daughter odyssey destined to leave audiences shaken.
Where we leave the characters is in such a peaceful and optimistic place. It feels well-earned to ensure everyone gets their own specially-crafted happy ending.
James Cameron’s The Terminator (1984) marks the beginning of a wonderful two-part arc, brimming with style and substance. The film follows Sarah Connor, a waitress living in Los Angeles. One night, a cybernetic organism (Arnold Schwarzenegger) is sent back in time to kill Sarah. A human resistance fighter (Michael Biehn) is also sent back in time, with the intent of saving Sarah from this deadly foe.
