Beyonce. A name that strikes even the most talented of people to the ground with sheer amazement. A triple threat. A mother. A woman. An icon. To add to the list now is also the title of filmmaker. Thanks to Netflix’s deal with the legendary singer, Beyonce’s 2018 Coachella headline set was brought to our TV screens around a year later, along with an album to match. Called Homecoming, it’s supposedly a celebration of everything Beyonce stands for – but did she bring it home, or did she miss the mark?
Homecoming is an amalgamation of everything Beyonce stands for. It’s a celebration of black culture, of talented black artists, and of her love for her fans. As Coachella’s first-ever black female headliner, Beyonce definitely had a difficult road ahead of her. Armed with her dancers, her band, and a slew of special guests, this film is a recollection of just how Queen Bey brought it home. Continue reading
I’m not going to sit here and tell you that Avengers: Endgame is the best movie of the MCU, because frankly; it isn’t. It’s not even in my top three. However, as a culmination of everything Marvel has been working up to since 2008, it has to be applauded.
From a technical standpoint, Endgame is like nothing else we’ve ever seen come to the big screen, with a cast that pushes the film to breaking point, characters we remember from movies past and some we had perhaps forgotten about hit the screen in epic fashion. But how good is the finished product? Continue reading
Peele’s sudden and swift success with Get Out (2017) left many wondering if the sketch comedian turned director really could be the horror pantheon’s saviour. After a lean half century brimming with blood, gore and gratuitous torture porn, the genre emerged into something of a renaissance. Following the release of Get Out came a swath of imaginative and intelligent thrillers like Raw (2016), The Babadook (2014) and It Follows (2014) and the horror genre began to establish itself as the go-to vehicle for social commentary.
By far the most commercially successful iteration was Get Out, which grossed just over $250 million worldwide. But after such overwhelming success, could Peele really do it again with Us? Well, the answer is yes. Just as Get Out was a chilling survival horror that had oh-so-relevant things to say about the African-American experience, Us is a chilling survival horror that equally has a significant amount to say about duality, privilege and the swelling vein of apathy running through the heart of America. Continue reading
After Stan & Ollie finished, all I could think of was Bohemian Rhapsody. This was not unusual for me at the time. Bryan Singer’s travesty that we were politely referring to as a “movie” had really wormed its way into my psyche. Not just because it was so bad— and it was so unbelievably bad— but also because everyone seemed to like it. When I asked anyone why their answer was “it’s about Queen, why wouldn’t I like it?”
This shouldn’t surprise me, of course, people love biopics. There’s something exciting about seeing people who were real brought to life on screen. The issue is that biopics are often awful. There exists, I think, a desire to capture every part of a person’s life. Continue reading
There has been an influx of movies about legendary singers and bands in recent times. From the Oscar-winning Bohemian Rhapsody to the soon-to-be-released Elton John biopic, Rocketman, audiences have been screaming out for their eyes and ears to be satisfied at the same time. It seems only fitting, then, for one of the biggest rock bands of the 80s to also get their own flick.
The Dirt follows the legendary group Motley Crue, as we chart their rise from messing about in their apartment to playing to thousands of people all over the world. It’s a tale of debauchery, hedonism, and downright dirtiness – but at least it lives up to its name. Continue reading