“Leviticus” and Leviticus
Like most young people, Leviticus is imperfect. But I love it anyways.

Traffic left behind precious few concert videos in any form, so this show, from the Santa Monica Civic Auditorium, is an intrinsically valuable document of the band, even though it does feature a later lineup: Steve Winwood, Jim Capaldi, Chris Wood, Rebop Kwakubaah, Roger Hawkins, and David Hood. Chronologically, the show comes roughly a year later than the Welcome to the Canteen album. There are some many wonderful shots of the band members from varied angles and all kinds of different lighting, even within the same song, courtesy of video producer Taylor Hackford (White Nights, Against All Odds) but, in fact, this wasn't the ideal version of the group to capture on stage: Winwood had suffered a serious illness the year before, the group was always in a state of flux as far as its line-up was concerned, and they were entering the period of decline that would coincide with the recording of Shootout at the Fantasy Factory.
Like most young people, Leviticus is imperfect. But I love it anyways.
The characters aren’t likable, the story is predictable and the humor is either disgusting, obnoxious, or uncomfortable. The Wrong Missy is a mess of a film and it’s not really worth your time.
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Liar, Liar, Vampire takes a bite out of clichés in romances between vampires and teenagers. Anything but boring and dripping with fun, it's a Halloween story with a twist.
Clearly, in the end, Allison raised a responsible child because she knew that her "friend" was doing something that made her uncomfortable and turned away from her. No worries, Super mom was already one step ahead of her.
For anyone who is not a cis white woman, a justice-fueled murderous rampage is not framed as liberation. Instead, they contribute to harsh stereotypes that vilify minority women with dangerous consequences.