Ronda Racha Penrice

Ultimately, Luther: Never Too Much will have fans dancing in their seats, playing karaoke to some of his best slow songs, or in the mood for love, which is how his friends, family, and Porter want him to be remembered most.

Rob Peace isn’t the story of an “Ivy League drug dealer”; it’s the story of a human being who deserved way better than what society gave him.

While “Shirley” is no “Rustin,” cinematically, Chisholm, like Bayard Rustin, more than deserves her flowers.

Begert’s aim is to shake Hollywood up. Yet his two movies-in-one proves that some old rules persist for a reason. As good as Schwimmer is as Martin, that story sinks under the weight of the one Fike and Ryder tell.

Even with its faults, though, “Magical Negroes” is sure to spark meaningful and needed conversations around race among the audiences reflected in the film. At the very least, Libii shows that he is witty and adept enough as a director to continue working in his craft.

Ultimately, American Pain perpetuates the media’s dangerous pattern of humanizing white criminals under the guise of moral disdain.

Flawed writing doesn’t mean A Lot of Nothing has no value. McRae certainly shows promise as a director, if not a writer, with Noel, Coleman, Anderson, and Scott demonstrating they can handle complex portrayals well. It’s just unfortunate the story doesn’t live up to all their talents.

By putting a mirror to Gia and placing us in her feet, shoes or not, Leaf beckons viewers to contemplate how contemporary society fails its Gias every single day, to face how this cycle of poverty continues, and to understand that Gia and women like her can’t conquer it alone.

There are certainly any number of inroads to creating a contemporary comedy about interracial relationships, but You People winds up playing as merely outdated and mediocre, with Eddie Murphy and Julia Louis-Dreyfus caught in the cobwebs.

The ugly truth is that society has routinely failed to protect poor women and children, and it’s still failing. Guzzoni uses all his talent to amplify this sad reality and, in turn, solidifies his position as a leader of the New Wave of Latin cinema

Even with its frequent clumsiness and failed ambitions, The Same Storm serves as an important time capsule of how we felt and behaved in the worst of times. As time elapses and memories get fuzzier, The Same Storm will prove to be not just a film but also an invaluable piece of history.

Deadwyler doesn’t just evoke Mamie’s speech patterns (which are very specific to Black women in the city trying to shed vestiges of the rural South) or capture her mannerisms, which remain precise at all times; she embodies every single inch of Mamie, body and soul, bringing her to life and making her real in both our minds and our hearts. . . This magnificent performance elevates Deadwyler to the ranks of the great actors of our time.

At too many points, the script from Kay Oyegun (adapting the novel by Angie Thomas) is uneven: Some story beats move too fast, while others pass too slowly, and there are narrative holes. Still, even with its flaws, On the Come Up — like 2018’s The Hate U Give — offers Black teen girls a voice in cinema that they have rarely had before. Lathan mines that gold, making her debut shine.

In bold contrast to the flashier, more emotionally-charged documentaries of late, Riotsville, USA takes an approach more reminiscent of the PBS of old, or even C-SPAN, in the trust it places in the footage to tell the story.

In her narrative debut, Diop has found a way to mix her hard-hitting documentary style with fiction to raise a mirror to society. This new arena, with its wider reach, makes Diop an exciting filmmaker to watch.

There is an intimacy in the doc — as NTA’s drama continues to unfold, there is no indication that the activists will be triumphant, only that they will fight until the very end. The fact that Shaw and his team never turn off the cameras show their commitment to the people, rather than the outcome.

Mounia Akl’s debut feature film Costa Brava, Lebanon is valiant filmmaking. Using the beauty of cinema to show the destruction of man’s cruelty to the environment is not just effective — it’s heartbreaking.

It’s never easy for anyone to offer themselves for public inspection, even when personal expression is the key. So what unfolds in Beba is wrought with contradictions, as well as portraits that Huntt probably did not intend to paint.

Monstrous offers a strong premise and some fresh twists, particularly in a genre where gimmicky filmmaking has prevailed.

Ultimately, FLINT is real-life American horror at its most devastating and disappointing, as it provides no indication that either hope or human decency can prevail.

Lunana: A Yak in the Classroom is more than what Ang Lee calls a “breath of fresh air”; it’s an affirmation that all films, however humble their origin, can matter and be counted.

Strawberry Mansion dazzles most in its execution. In its own search for creativity and inspiration, the film leans into experimentation and whimsy.

Reis, in her acting debut, is a captivating lead whose eyes speak volumes. And so does her body. There’s an openness in her presence that serves as a direct window into K.O.’s pain and her struggle.

Much about God’s Country is provocative, raising critical questions about boundaries, environmental stewardship, community, inclusion, grief and more. It is, however, a slow burn, requiring patience and attention.

Arriving at a time when conversations once reserved for academics have filtered into popular culture, “Who We Are” never plays like the product of some Hollywood bandwagon effort. Instead, its existence speaks to the power of cinema to reflect the times by sparking conversations and changing minds.

What’s absolutely clear is Hadaway’s stunning eye and control of the camera. Her direction is not just steady but highly evocative, and the cinematography from Todd Martin, making his feature debut after shooting dozens of shorts and music videos, is just breathtaking. What a wonderful debut from them both.

Deer, a rare filmmaker of Mohawk descent, portrays in Beans the hope and love that help people thrive in the face of such hatred.

Found is told with such genuine love that it’s frequently hard to hold back tears. Once again Lipitz has focused her lens on the magic of girls and found real treasure.