Shannon Miller

Zola is first and foremost a zany, catastrophic road-trip dramedy, one that balances the whimsy of social media with the harrowing reality of being trapped in a dangerous situation.

Coming 2 America—with its endless callbacks and Easter eggs—seems all too ready to rely on nostalgia. It’s clearly meant to function as a celebration of the original film’s enduring legacy. Fans should just watch that movie again instead.

Macqueen approaches the messy reality of letting go with measured sorrow, unrestrained tenderness, and even moments of joy.

With the help of four intuitive performances, King’s film adaptation briefly removes these titans from their pedestals to tell a meaningful story that is as humane as it is political—a difficult feat when you’re talking about some of the biggest cultural figures in modern history.

It’s important to note that there would not even be a show to admire without the trailblazing career of Ma Rainey, which Davis recognizes and honors with her otherworldly portrayal. Still, this is undoubtedly Boseman’s show and will likely live on as his greatest work.

While the comedy aspect of this Sundance standout works in parts, the horror of it all suffers from knotty reasoning and an unclear thesis.

It doesn’t offer perfect solutions, only a brand of humor and astute wisdom one might from someone who has lived the life.

Black Is King reconfirms a notion that many understood back in 2016 with Lemonade: When it comes to pairing strong, resplendent imagery with equally rousing music, the only person who can potentially outperform Beyoncé is Beyoncé herself.

While the first Train To Busan was an affecting, character-driven tale of grief and redemption, Peninsula flounders in generic spectacle. Even fans may wonder if there are any bones left to pick on this franchise.

Unfortunately, everything engaging about the narrative is overshadowed by gratuitous quirkiness.