Ruth (Aimee-Ffion Edwards) wakes inside a featureless spaceship; she's no memory and is kept alive by a plastic tube connected to her lower back. Ruth removes the tube and as the searing pain subsides, her memory begins to return. She looks out of the window and sees hundreds of identical ships orbiting a green planet. Ruth remembers the pledge she made to begin a new life, light years away from the earth. Suddenly there's a noise from the other side of a dividing screen and Ruth realises that she's not alone.
I’m still trying to comprehend the psychological and moral implications of their fascination with each other, or why their almost written-in-the-stars depth of connection makes so much sense.
When science, Bruce Banner is exposed to gamma radiation from his experiment, he transforms into a gigantic green monster when he gets angry and wreaks havoc wherever he goes.
“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.
Cassie, a musician, and Luke, a man serving in the Marines, form a false relationship and keep it a secret.
Moonlight is a film that will certainly be remembered for how it won Best Picture, but the movie itself should be known for its excellent representation of one of the most underrepresented groups in film: Black, gay men.
Amsterdam is a confusing movie with a meandering plot amidst a beautiful rendering of 1930s New York
