The Theatre of Death in Paris specialises in horror presentations. A police surgeon finds himself becoming involved in the place through his attraction to one of the performers. When bloodless bodies start showing up all over town he realises there could be links with the theatre.
Treated like a granter of wishes for those earning out of retelling the same tragedy, Marilyn looks like she's caged in different stages of trauma for us to stare at, instead of someone we’ve finally allowed to rest in peace.
The Magician's Elephant has a strong multicultural cast and a heartwarming story about bringing two long-lost siblings back together
Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.
After years of mediocrity, Thunderbolts* is the welcome change MCU fans were waiting for.
‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.
The sequel following The Son of Bigfoot explores Adam's conflict of discovering his true identity as he tries to save a wildlife preserve.
