The Blues, and Two Contradictory Films That Claim It
Crossroads follows a young guitarist on a journey through the American South in search of blues history and his own voice.

Helen, the telegraph operator at Lone Point, receives a telegram for Sydney Wayne, superintendent of the Graham Gravel plant, advising him that the plant has changed ownership and that Stanton Grey accompanied by his daughter Edith, is on his way to Lone Point to inspect the property. Wayne is startled because he has gambled away the company's money and realizes that his books will not balance. Fortune appears to favor him when Grey is carried into the station unconscious as the result of an automobile accident. He extracts Grey's wallet from his pocket but Cole, the gambler, who has trailed Wayne gets a photograph of him in the act. With the photographic evidence, the gambler tries to blackmail Wayne.
Crossroads follows a young guitarist on a journey through the American South in search of blues history and his own voice.
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This HBO mini-series asks why a young white man turned to violence and finds no easy answers. But why do we only ask questions about certain kinds of killers?
I write for a diversity-focused film review blog, so I’ll be honest: I really wanted to like Pretty Lethal. Starring Maddie Ziegler, Lana Condor, Iris Apatow, Avantika, and Millicent Simmonds, Amazon Prime’s new thriller seemed like it would be a girl power movie about dancers with a horror action twist. Sort of a Suspiria for teens. But with shallow and unlikeable characters, a confusing plot, an overreliance on violence, and cringey dialogue, any fun the movie started out with was quickly lost. What was left was a faint echo of greater horror movies about dancers made before.