REVIEW: Candyman [1992]

Sweets to the sweet. An urban legend ghost such as Candyman (Tony Todd) doesn’t care about anyone besides those willing to keep his memory alive. His purpose in death is to be remembered through blood—turning his heinous fate from the late nineteenth century into a curse that haunts others into being too scared to naively follow in his own footsteps where it comes to the belief that someone who looks like him can escape the prejudice that targets the color of his skin. So when Chicago grad students Helen Lyle…

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FANTASIA20 REVIEW: The Dark and the Wicked [2020]

What’s going to be okay? No matter how staunch your atheism, there still exists a surefire way to get you believing in God. It’s not hearing His voice or seeing His work, though. Those can easily be laughed away or chalked up to coincidence. God is an abstract catchall in which His faithful are conditioned to place their faith. They rely on Him as their savior while atheists rely on themselves. His deeds are inconsequential to those recognizing how “good” can always be explained by their own actions first. It’s…

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REVIEW: Proud Mary [2018]

No one leaves. The first trailer for Proud Mary hit the internet in July of 2017. After that came a few badass 70s-style James Bond-like posters with star Taraji P. Henson in shadows, gun drawn. It was hard not to get excited for what appeared to be a stylized assassin flick in the vein of John Wick with a bona fide bankable black woman in the lead, Tina Turner’s emotional adaptation of John Fogarty’s anthem rocking in the background. But then the release date hit with a January bow. Critics…

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REVIEW: Terminator 2: Judgment Day [1991]

“You’re really real” Oh what seven years can accomplish through cinematic technological achievement. While The Terminator still looks good today, Terminator 2: Judgment Day looks amazing. Director James Cameron acknowledges his evolutionary leap by opening the follow-up with a near-replica 2029 Los Angeles prologue as the first to showcase exactly how far forward. These new sentient machines are carbon copies of the old moving with marginal hitching to physically belong next to their human adversaries. Besides the sequences inside cars with flat projections whooshing by (Hollywood still hasn’t perfected this…

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REVIEW: Transcendence [2014]

“They say there’s power in Boston” With a trailer digitizing Johnny Depp and electronic machinery created out of thin air, it’s an understatement to say I was surprised the beginning of Transcendence introduced a world without power. I thought the film was about new technology and the advancement of artificial intelligence harboring a potential for hubristic power grabs and the genocide of organic thinking/emotional response. Instead I saw broken screens on the street and a shop owner wedging a chewed-up keyboard into the gap between his door and the ground…

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REVIEW: Taken [2008]

“Good luck” Mr. Pierre Morel, you have picked an express train to latch on to—good for you. Something about Luc Besson just works every single time. I’m sad that his declaration of being finished with the director’s chair may be true, however, his scripts are mounting and churning out entertaining action flicks. If you can get the Transporter series to make money from its wit and smart action, you know you are doing something right. I’ve yet to see these two guys’ first collaboration, District B13, but as far as…

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