"A man has got to see his face." Horror Noire: A History of Black Horror
This documentary moves chronologically through Black representation in horror films, revealing the genre's connections to Black history.

Celebrate the legendary rock band’s 50th anniversary in a 2015 concert at the Royal Albert Hall in London, where they tear through their greatest hits including “My Generation,” “Won’t Get Fooled Again,” “Baba O’Riley,” “You Better You Bet” and “Who Are You,” as well as sections from groundbreaking albums Tommy and Quadrophenia.
This documentary moves chronologically through Black representation in horror films, revealing the genre's connections to Black history.
It’s been five months since Wayward premiered on Netflix and it still has some of us in a choke-hold.
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.
Even with its straightforward premise, “Richard Jewell” is ramped up by exceptional drama. In all honesty, the performances are out of this world. As Jewell, Paul Walter Hauser becomes a walking representation of gullibility. His bumbling antics create the perfect hero, and very quickly, we feel the societal heat that surrounds our protagonists.
Unlike other documentaries about Princess Diana, Perkins’ film, 'The Princess', is an entire documentary consisting of media coverage and public opinion, rather than a typical series of people interviewed with firsthand experience of the Princess. 'The Princess' beautifully depicts how we perceive Diana as a media figure rather than a real person, specifically creating her persona as a fairytale figure turned saint and icon.
In the film adaptation, director Jon M. Chu turns each musical number into a massive show stopper, with grand set pieces and a wealth of diverse dancers. Yet, in this attempt to show reverence for the people of the Washington Heights barrio, Chu, or maybe more specifically those in charge of casting, left out a crucial part of the community, Afro-Latinos.