The lore of Bernard Rose's 1992 film, Candyman, explores the exploitation of black tragedy into white, middle-class urban legend.
Lars Damoiseaux's 'Yummy' is savage but senseless.
'Woman of the Photographs' is a wonderful, unorthodox probe into insecurity, identity, and intimacy.
A discussion with Kate Lyn Sheil and Jane Adams about their latest collaboration with director Amy Seimetz, 'She Dies Tomorrow.'
Julius Onah’s grippingly suspenseful drama-thriller ‘Luce’ audaciously confronts the unmitigated loneliness that is birthed by black tokenization and idealization.
'She Dies Tomorrow' confronts our deepest anxieties with delightful dread and unrelenting fervor.
'Miss Juneteenth', in all its care, honesty, and humor, is a film that feels like love — a film that feels like home.
Ryan Murphy’s newest chronicle passionately renders Hollywood’s golden age, but its idealist attempt to rewrite the narrative isn’t without flaw.
Despite a nucleus of spirit and overwrought chaos, Selah and the Spades is curtailed by its own disorder.
Pascal Laugier's horror from the New French Extremity unrelentingly catalogs the abuse of the female form by "greater society."
Nightcrawler addresses the most modern form of political propaganda: television news.