'Pulgasari': The Strange Story Behind North Korea's Godzilla
When we hear Korean Cinema, we often think of South Korean Cinema, but what about North Korea? Sure, North Korea has its propaganda moments, but 'Pulgasari' might be its best one yet.

Mac and Richard, a duo that most would describe as best friends for life, they know everything about each other, including spending every Saturday night at Mac’s place to bum around and watch television; simply enjoying each other’s company. One night when Richard comes over, he starts to act differently, laughing and smiling on his phone. Mac becomes curious of this and tries to figure out why, but Richard won’t budge, seemingly insisting that it’s nothing important. Through a series of wacky and sneaky, “stealthy" shenanigans, Mac tries to unlock the secrets in Richard’s phone.
When we hear Korean Cinema, we often think of South Korean Cinema, but what about North Korea? Sure, North Korea has its propaganda moments, but 'Pulgasari' might be its best one yet.
Given Hollywood's history of racism and financial motivations, how much progress can we expect? Plus: a list of excellent films by Black directors.
Seeing that the film was essentially his first big, mainstream feature, and with garnering a leading role — portraying the revolutionary ball-player Jackie Robinson — Boseman, without question, delivered a performance that is still so incredibly moving, respectful, genuine, and true to the core of his obviously sincere, artistic heart; and with that, it is indeed so saddening to see him pass.
Written and directed by Eva Victor, who also plays Agnes, the main character, Sorry, Baby is slow and artsy, but extremely effective. It shows how the trauma developed after a sexual assault has a ripple effect and loudly echoes in the victim and her life for years after.
It’s not often in America that you turn on the TV and see a show or a movie with a Muslim protagonist. And when they do, they're usually a negative stereotype. Ms. Marvel changes all of that.
One of THE most frustrating trends in the mainstream film industry over the last several decades has been the onset of comedy efforts that seem SO focused on being crude and/or gross-out in all ways possible. That, at least for me, makes them no longer funny.