Through an intimate reconstruction of an important phone call, When The Phone Rang investigates dislocation and the nature of remembering. In the protagonist's eleven year old mind the phone call erases her entire country, history and identity and hides its existence in books, films and memories of those born before 1995.
“Candyman ain't a 'he.’ Candyman is the whole damn hive." Candyman represents all Black victims of white supremacy, and this art form narratively conveys it in a succinct, adulatory way, the history of which is rare to find.
The definition of the word foul is “offensive to the senses,” which is a pretty good summation of the new Disney+ film, Artemis Fowl
Nick Rowland’s She Rides Shotgun is a blistering, blood-soaked road thriller that doubles as a bruised love story between a haunted ex-con (a career-best Taron Egerton) and the daughter he barely knows (astonishing newcomer Ana Sophia Heger). Fueled by white-knuckle chases, razor-tense shootouts, and quiet moments of aching tenderness, the film captures both the terror and fragile beauty of survival. It’s gritty, heartbreaking, and unforgettable—a father-daughter odyssey destined to leave audiences shaken.
Based on Bethany's autobiography "Soul Surfer: A True Story of Faith, Family, and Fighting to Get Back on the Board," this heartwarming film tracks the struggle to pursue normalcy and ambition after a major injury.
‘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.
