Toofan Singh 

How closely should film adaptations follow their source material? Let's take a deep dive into "Norma Rae", and find out.

With so many Disney remakes out and about in the world and loosed upon Hollywood cinema, there is one Disney film that truly needs to be seen and witnessed on the big screen: Princess and the Frog.

Yeah, sure, the movie’s about Carnage. But it’s really about love. A love that defies all odds: the love between a man and his man-eating alien symbiote.

With mismatched eyes, a willingness to experiment with hair color and style, and a rail thin frame, Bowie always drew attention. But he shunned gendered attractiveness, creating his own space somewhere in between. This hallucinatory and often nonlinear 2022 documentary is a perfect salute to David Bowie’s life and career. Rather than interviewing those that knew Bowie, the standard convention for biographical portraits, director Brett Morgen mostly lets the artist’s images, performances, videos, and words speak to capture the essence of the artist. Bowie was more than just a pop star. He painted, sculpted, acted in films, and was a thoughtful and articulate person who gave sincere answers to even the most shallow interview questions.

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.

“Unsung” does not begin to describe the obscurity Bayard Rustin endured in the shadows of the Civil Rights Movement