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Boys in Blue offers a raw view into the lives of high school football players and coaches < Back Boys in Blue offers a raw view into the lives of high school football players and coaches Showtime Sports Documentary Films, 2023 45 minutes Creator: Peter Berg Reading Time: 7 minutes 📷 : Used with permission, Showtime Boys in Blue Vision (WHGTRGECNCLJ0AQJ) 00:00 / 07:56 Dandelion Movies and TV shows with heavy subjects Masala Chai Movies and TV shows about toughness and athletic competition Reba Chaisson 2023-01-31 Okay, I am not a prude, just naïve about some things. Several years after my son graduated high school, I asked out of the blue if his high school football coaches used foul language. He was incredulous that I would ask a question that seemed to him to have such an “obvious” answer. “Yeah,” he said. I also learned that it was not unusual for football coaches to have profanity-laced practices and film sessions. Indeed, this was the norm. The documentary series, Boys in Blue , sent these memories rushing back and I could not help but laugh. So that’s what Brandon meant! Boys in Blue focuses on the North Community High School football team. Located in Minneapolis, the predominantly Black school sits in the middle of a poor community where sadly, gunfire and violence are all too common. Initially unbeknownst to the talented football players, the coaching staff consists of Minneapolis police officers. This combined with the team’s blue uniforms makes for an apt title for the piece. In addition to the jovial and open coaching staff, several of the kids are profiled. Hill, the 15-year-old varsity quarterback, is friendly but reserved, and quietly aspires to play professional football. Best friends Meiko and “Rio” are seniors whose goals are to do the same. And “Cash” is a sophomore who is focused on using football to “repay [his] family for everything they’ve done for [him].” The coaches are all in lock step with the kids, as their own goals are to help their players get where they want to go. In this sense, high school football, at least for many of the team members at North High, is a means to an end – but this is not in any way atypical. We know this from the numerous studies conducted by social researchers over the last 30 years. In The Great American Football Ritual , D.E. Foley writes about the season he spent studying a high school football team in a small Texas town back in 1990. He found that the Friday night “football ritual” played a significant role in how the players, and even the community, viewed themselves and their status relative to non-elite players and towns, respectively, based on the strength of their high school football program. The television series Friday Night Lights , which ran from 2005-2011, was based on H. G. Bissinger’s 2004 book of the same name . The critically acclaimed series was about a high school football team in Odessa, Texas, and its significance to the town’s identity. Like the kids at North Community High School, the players here aspired – even expected – to go to a major university and ultimately play in the National Football League (NFL). I think a lot about the level of emphasis kids and coaches place on getting to the pros. According to the NCAA , only 7.3% of high school football players play NCAA football, and of those, 1.6% go pro. In raw numbers, that is 254 NFL players out of 1,006,000 high school football athletes each year. Knowing these odds, should young people be given what can be viewed as false hope? Shouldn’t they instead be encouraged to pursue much more realistic, attainable goals? Admittedly over the years I have waffled on these questions. My family and I have had long, serious, and sometimes contentious debates at the dinner table on this very issue. The viewpoint I settled on is that these are not mutually exclusive paths. Pursuing the dream to play professional sports does not preclude simultaneously preparing for a more traditional career. Given the odds of going pro, grave mistakes are made when the former is heavily – or worse, solely emphasized over the latter. Still, some might say it is sad that the lofty dreams of the kids in Boys in Blue are not being tempered by the adults around them. Such statements though, reflect a lack of appreciation for the complexity of the kids’ lives. The sadness here should be reserved for the circumstances under which Hill, Rio, Meiko, Cash, and the other kids at North High are forced to learn and live every day. Gunshots are heard throughout much of the documentary’s filming. Coach Adams acknowledges the persistent violence in the surrounding community, adding with great seriousness: “But for some reason, when it’s game time (shaking his head slowly), don’t f*** up my football game. Don’t f*** up my football game.” When gunshots are heard during a talk outdoors with Rio and Meiko, Meiko casually comments: “I ain’t ‘gon lie; that sh** normal for us.” Much of the research on high school sports focuses on teams in Texas, with a smattering in Florida and New York, and all address things like identity, sense of community, unrealistic aspirations, and significantly, the dangers of concussion. Not to minimize the importance of these issues, but none hone in on the challenging and often dangerous conditions under which students learn, play, and even walk to school every weekday. Perhaps these were not the conditions of the communities that were studied. If so, then sense of community is not the same near North High as it is in the places focused on in many of the studies. So while the coaches in Boys in Blue can be criticized for not tempering the kids’ aspirations for going pro, they should be recognized if not rewarded for what they do provide. These include friendship, yet another family to trust and rely on, and a sense of security for their young players, who are experiencing daily travails that include just trying to stay alive. I was glad to see Peter Berg contextualize the players’ experiences in this work. Boys in Blue reminds me so much of the HBO series, The Wire , which ran from 2002-2008. Each season focused on a different aspect of the Baltimore community: the police, the streets, the docks, the media, and even a focus on the schools. During that particular season, viewers saw teachers find innovative ways to both connect their students to the work and show that they were there for them during difficult times. This is similar to the role of North High’s coaches in the training and support of their players. Also like The Wire , Boys in Blue delved into local politics and how the actions of leaders often impact students’ lives in unintentional but very real and stressful ways. Indeed, politics in the North High community looms over the fate of all of the boys in blue. While not technically a film, Berg’s Boys in Blue documentary series checks all the boxes for why it nonetheless fits the indie sector so well. It tells a small story of a high school football team in an urban community, allowing the audience to not only get inside the school, but inside the players and coaches’ lives. The significance of this cannot be understated. Whereas judgments are often made about predominantly Black schools and the kids in them, this work gives us the privilege of an extended firsthand glimpse over four episodes. With this, we can at least begin to form/shape/modify our own ideas about the kids, families, and coaches through a deep and broad lens. At Cup of Tea Critiques, we rarely recommend a production – this will be our first (and perhaps only) exception to this. 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< Back Mickey Hardaway highlights the need to prioritize mental health Mylineal Films, 2023 104 min Director/Writer: Marcellus Cox Reading Time: 5 minutes Mickey Hardaway A Dark Past (VNQH2YEJUZ5IYSE2) 00:00 / 05:04 📷 : Used with permission, Marcellus Cox Dandelion: Movies and TV shows with heavy subjects Barley: Movies and TV shows with a lot of dialog Chris Chaisson 2023-04-18 The title character in this brooding melodrama has not had an easy life. Mickey, a 20-something talented aspiring artist, simply wants to pursue his dream of creative expression. He embraces the possible footfalls that come with it, but simply wants to be given a chance. The story begins with his visit to a psychiatrist. As he opens up to his therapist, we see flashbacks of Mickey’s upbringing and key moments that influenced the path of his life. The most impactful element of his trajectory is the relentless verbal and physical abuse he endures from his father. Mickey’s dad, Randall, clearly maintains the practical mindset with which he was raised, the belief that artistic endeavors are a waste of time and energy. In his view, both are better spent learning a trade that could earn money and help loved ones. Part of Randall’s mindset, we later learn, comes from sacrificing his football dreams for the good of the family. Rather than accepting what his life has become, he continually takes out his anger on his family, beating Mickey up and verbally disrespecting Mickey’s mother, Jackie. Once he finally stands up to Randall, Mickey decides he is better off living on his own. His father does not try to keep him from going but instead encourages him to get out. In addition to his financial struggles, Mickey battles a bad drinking habit he has learned from his father. When his girlfriend, Grace, brings it to his attention, he admits that he has always used it as a way to calm his anxiety. Between his father’s abuse, his drinking habit and his inability to achieve a career breakthrough, he becomes self-sabotaging and emotionally unavailable, creating problems in his relationships with Grace and a supportive former teacher. The culmination of these issues compel Grace to encourage Mickey to seek the help of a professional. But can Mickey’s new therapist be accessible enough to meet his needs? There has been an abundance of discourse about the need for young Black men and women to prioritize their mental health and seek counseling when feeling overwhelmed. However, a stigma has long stood in the way of taking this step, with therapy being viewed as something for the “weak,” “soft,” or “crazy.” Many Black men in particular are necessarily raised to be tough and independent, and admitting the need for counseling does not fit in with such old-school ideas of masculinity. Additionally, quality mental health services are not always available or affordable for marginalized groups, which lends itself to continuing the perception in communities of color that mental health support is not meant for people like them. Another challenge to overcoming the stigma of using mental health services is the matter of finding relatable professionals. In the film, Mickey is a young Black man seeking the help of a professional with a similar background, which is an important component of counseling. Negative or unhelpful experiences with therapy sometimes stem from the patient and professional having vastly different life experiences. This dissonance can leave the patient feeling misunderstood or as though their experience is being minimized. On the flipside, the professional may have their expertise dismissed by the patient. Many female therapists, for example, struggle getting through to their male patients who display misogynistic tendencies. In any case, this indie feature subtly conveys the need to find help from professionals with a shared viewpoint. Mickey clearly needs help, but has he waited too long to find it? Has he reached a point of no return where he will act out in an irreversibly destructive way? In entertainment, scenes of protagonists undergoing therapy have often been used as somewhat comedic devices, particularly when they do not fit the profile of psychotherapy patients (i.e. Tony Soprano or Paul Vitti). This is done in fun and meant only as a source of humor - for its entertainment value. However, there is a serious side to the issue that also deserves attention. Mickey Hardaway gets at this by illustrating the importance of doing away with the perception of therapy as something that is needed and should not be embarrassing when sought. As far as melodramas go, Mickey Hardaway is most reminiscent of the early 2000’s biopic Antwone Fisher . Both films consist of young Black protagonists dealing with residual anger from years of mistreatment and finally seek counseling in hopes of turning things around. Jonah Hill's Stutz , although more of a docu-drama, deals with this topic as well and with similar goals to Mickey Hardaway . The hope is to get young people to seek help when needed and in doing so, find a therapist they feel comfortable with and that is right for them. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

The Untold Story of Mild Sauce will make you chuckle and reminisce < Back The Untold Story of Mild Sauce will make you chuckle and reminisce Ill-Hio Films, 2021 13 minutes Director/Writer: Anton Deshawn / Johnathan Craig and Anton Deshawn Reading Time: 3 minutes 📷 : Used with permission, Anton Deshawn The Untold Story of Mild Sauce Cats And Dogs Living Together (ECIADMH14RKW9MLT) 00:00 / 03:16 Oolong Movies/shows that make you laugh or involve physical activity like exercise/dance Ginkgo Biloba Youthful, lighthearted, and fun movies and TV shows Chris Chaisson 2023-04-11 For anyone who vividly remembers ‘90s R&B and VH1 programming, The Untold Story of Mild Sauce will offer quite a few chuckles. Shot in mockumentary style, the story raises the curtain on fictional R&B group Mild Sauce, a four-person boy band comprised of Vonn, Juju, Heno, and Dre, and their manager Stony Mack. Between narration and confessional-style interviews, director Anton Deshawn splices in Mild Sauce’s music videos. The choreography and vocals are clearly meant to poke fun at hit songs by the extremely popular groups of the era, namely New Edition, Boyz II Men and Dru Hill. Interestingly enough, the humor hits harder now that R&B music has transitioned away from this style. In the ‘90s and early 2000s, boy bands in pop and R&B were so revered that it would be tough to imagine anyone producing a satire of them. Contemporary groups largely consist of individual acts that collaborate across other genres and lean heavily on sex appeal. The generation-old trends that The Untold Story of Mild Sauce mocks make it easier to look back and laugh at styles that were universally admired at the time. The funniest element of The Untold Story of Mild Sauce is without a doubt the lack of accountability that permeates the actual VH1 Behind the Scenes -style interviews. Generally, the artists and managers alike never own up to any of their transgressions. They instead point the finger at other parties, rationalize their actions or simply deny details that have already been proven true. Mild Sauce turns this into a recurring gag, where the members do not take responsibility for the downturns in their careers or in their personal lives. In one particular interview, a Mild Sauce member will not even give kudos to a female R&B group (likely a nod to TLC or En Vogue) that outsold them at the time. Similarly, Stony Mack does not own up to ripping off the band, just as most managers never do. As is common in VH1 Behind the Scenes stories, a publicist, manager or record label executive takes advantage of the group’s success and cheats them out of money. Mack’s denial is consistent with a vast majority of stories we hear from the music industry, where the swindler acts as though other expenses prevented the band from getting paid out. The interview segments cleverly mimic those from every documentary or biopic that we watch about feuding artists and deceitful management. At this point, so many of our favorite musicians from the past have decided they hate each other, so we may as well poke fun at the never-ending feuds. The Untold Story of Mild Sauce serves as part satire, part time-machine, and executes both equally well. Available on Kweli TV Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

The Bear presents layered characters struggling in a pressure-packed profession. < Back The Bear presents layered characters struggling in a pressure-packed profession. FX Productions, 2022 30 minutes Creator: Christopher Storer Reading Time: 5 minutes 📷 : Licensed from Shutterstock The Bear Need for Speed (ALTE9ZSD0ZNQDXAR) 00:00 / 05:57 Chamomile Family dramas Saffron Movies and TV shows with great visual effects Chris Chaisson 2022-09-07 On the big screen, the director calls all the shots and gains notoriety when a movie is well-received. However, in television, directors do not get nearly the same level of publicity or recognition. Often considered interchangeable, any given show can have several directors, even in just one season. Given this stark difference between television and film, the shooting style for shows can often be generic. For this reason, the new and critically acclaimed series The Bear stands out. Its stylized direction offers a contrast from many of its contemporaries and, paired with exceptional writing, has created a memorable first season. Starring Jeremy Allen White ( Shameless ), The Bear follows Carmen “Carmy” Berzatto, a world class chef, and the back of the house crew at his family-owned sandwich shop on the south side of Chicago. The show is chock full of references to The Second City, be it the transportation, major streets, architecture, or consistently disappointing sports teams (I’m not bitter at all). On the surface, the show is about the turbulence and pressure that comes with working in food service. However, as the show’s title is a reference to the protagonist’s nickname, the deeper meaning of the half-hour drama is Carmy’s relationship with his family, specifically his deceased brother Michael (played in flashbacks by The Walking Dead ’s Jon Bernthal). The Bear utilizes every element at its disposal to convey the stress of running a kitchen. Creator Christopher Storer ( Ramy ) selects shots that make the viewer feel as though they are in training and shadowing the chefs. To heighten the senses, the show incorporates fast-paced music in the background as they toil, sometimes increasing in speed when they butt heads with one another. The camera often follows the characters around every corner as they slide past each other, shout instructions and multitask. It frequently swish pans between speaking characters and swerves as it circles the kitchen island. The audience experiences an abundance of close-ups, specifically when a character is stagnant as they taste-test or check order receipts. Although there is plenty happening in regards to the restaurant in each episode, the FX series does not deny its audience three-dimensionality with its main characters. Carmy is an award-winning chef who has worked at the best restaurants in the world, so resurrecting the modest sandwich shop proves to be a humbling experience for him. In the later episodes, we learn what drove him to be so accomplished. His cousin Richie (Ebon Moss-Bachrach, Girls ) wants to preserve the old feel of the shop and clashes with Carmy, who tries to run a tighter ship. While he is protective and loyal, Richie exhibits obnoxious, unfocused, and misogynistic behavior. Though he plays an antagonistic role at times, making Carmy’s job harder for seemingly no reason, a lot of his demeanor is explained by him masking the pain he feels at the sudden death of his best friend Michael. Two characters that try to help Carmy, but actually frustrate him, are Sydney (Ayo Edebiri, Big Mouth ), the second-in-command chef, and his sister, Natalie “Sugar” Berzatto (Abby Elliott, How I Met Your Mother ). Sydney is ambitious and innovative but often tries to force change too quickly. A young woman and relatively new to the team, she struggles to gain the respect of the rest of the kitchen. Her efforts to connect with Tina (Liza Colón-Zayas, In Treatment ) are initially rejected, and she continuously deals with Richie talking down to her. Through some successes along with Carmy’s support, she gains confidence but still carries doubt from her past shortcomings as a culinary entrepreneur. Natalie, on the other hand, expresses concern for Carmy’s well-being. While not a fan of the restaurant, her love for her brother is obvious in how frequently she reaches out to him and attempts to get the restaurant on solid financial ground. The Bear’s best aspect is that it allows you to empathize with every character. From a professional standpoint, anyone who has worked in food service can relate to how the main characters cope with rough shifts and unwind afterward. For instance, Carmy goes home and, despite all his cooking expertise, makes a peanut butter and jelly sandwich. The show also allows you to relate on a personal level. Anyone watching has grieved the death of a loved one and maybe even tried to continue working a job while doing so, like Carmy and Richie. Any viewer can relate to feeling like an outsider in a new job or school, especially when coming off a failed venture as Sydney does. Many audience members have had an aloof sibling that they wanted to open up to, similar to Natalie’s experiences. While very different people, the one thing the main cast of characters has in common is their struggle to overcome self-doubt. All of their emotions are easy to understand and add depth to their interactions. The Bear will get your blood pumping during the lunch rush but may make you misty-eyed when the shift finally ends. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

The English features a pairing uncommon in its genre < Back The English features a pairing uncommon in its genre Amazon Studios, 2022 51 minutes Creator: Hugo Blick Reading Time: 5 minutes 📷 : Licensed from Shutterstock The English Heist (X2EIFVYLXVNFHFWM) 00:00 / 04:54 Rosemary Movies and TV shows with intense action Barley Movies/shows with a lot of dialogue Chris Chaisson 2022-12-23 If you’re a fan of westerns, you know how often they center around a tough-as-nails protagonist, sometimes forced to fend for themselves. Ninety-nine percent of them tell a story through the perspective of a rugged White cowboy, rescuing a damsel in distress from outlaws or saving an entire town. While there are plenty of tales of vigilante justice, they rarely consist of any other main character than the typical perpetrators of self-righteous violence. Given the rigid characterizations we’re used to, Hugo Blick’s new mini-series The English provides a refreshing change of pace. The English revolves around Cornelia (Emily Blunt), a British aristocrat venturing across the Great Plains in 1890 to avenge her son’s murder. Cornelia comes from privilege but is skilled in both riflery and archery. Along the way, she crosses paths with a Pawnee tribe member, Eli Whipp (Chaske Spencer), heading to Nebraska to claim land he is owed for his military service according to the Homestead Act. When Cornelia first happens upon Eli, she rescues him from a rancher attempting to kill him. While initially going their separate ways, they reunite and continue westward to complete Cornelia’s mission together. For much of the series, Cornelia seems to be a fish out of water. She carries a large bag of cash with her in a satchel on her horseback carriage. As if that didn’t make her enough of a target, she wears fancy, pristine attire and skillfully applied cosmetics, not hiding her wealth at all. Every character around her carries with them the toll of physical labor or combat on their faces and clothes. This is in stark contrast to Cornelia’s prim and proper appearance that leads everyone to underestimate her, which she frequently uses to her advantage in the face of danger. Even after committing gruesome acts of violence, Cornelia seems troubled and guilt-ridden. In a universe with a desensitizing amount of violence, she serves as a presence right on the threshold of civilized and barbaric behavior. In contrast to the expressive Cornelia, Eli remains a portrait of stoicism for much of the mini-series. Likely a product of his military training, Eli’s even-keeled nature conceals not only the grief he feels from lost loved ones, but the burden of the oppression he experiences as a Native American. Despite his service, he still finds himself as the game being hunted in many scenarios, surviving due to his own cunning and Cornelia’s loyalty. The supporting characters stand much more in line with the typical Western personas. Most of the villains throwing up obstacles for Cornelia and Eli have the typical conniving motivations, out for riches (of which Cornelia has plenty), property or scalps to put on display (gross). Many either operate by the code of “kill or be killed” or have deep-seated bigotry toward Native Americans, to the point of engaging in grand, faux-philosophical discourse with the reluctant protagonists. Unlike your typical vengeance story, the focus of The English turns out to be the bond forming between the two leads. The audience can determine this based not only on where the majority of the series is spent but where it picks up. We are thrust right into the midst of Cornelia’s journey, meaning we neither meet the villain that she is after nor see the inciting incident that spurred her on. Similarly, for Eli, his time with the military ends at the very beginning of the pilot, upon which he is reminded by a fellow service member, “In there, you’ve been one of us, but out here, you’re one of them.” The series’ focus on the friendship rather than the vengeance itself could be construed as a statement on the unfulfilling nature of revenge. Though violence is as second nature to some as it is unthinkable to others, payback rarely satisfies the seeker as much as they expect it to. A hidden message in The English may be that the best way to heal from a painful loss is to foster relationships with those that are still here. Though each belongs to a different broader genre, The English and Kill Bill are similar revenge stories. Cornelia, like The Bride played by Uma Thurman in Kill Bill , lost a child and seeks retribution, killing many other villains in gruesome fashion along the way. Both characters are greatly underestimated by some of their foes. At the end of each of their journeys, the chase and eventual slaughter left both characters less content than the time they shared with their close companions along the way. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

Interviews Derek Magyar A Conversation with River of Grass Director Derek Magyar River of Grass Writer/Director Derek Magyar sits down with Cup of Tea Critiques Chris Chaisson Reading Time: 13 minutes Read More Greg Sgammato A Conversation with Film Composer Greg Sgammato Cup of Tea Critiques chats with Greg Sgammato, film composer and member of the Society of Composers and Lyricists Chris Chaisson Reading Time: 18 minutes Read More Steven Renkovish Interview: A Talk with Writer/Director Steven Renkovish Interview with Writer/Director Steven Adam Renkovish on The Awakening of Lilith Chris Chaisson Reading Time: 18 minutes Read More Alain Fleury A Conversation with Black Panther: Wakanda Forever Assistant Editor Alain Fleury Alain Fleury joined COTC to discuss the ins and outs of assistant editing for big-budget Marvel movies Chris Chaisson Reading Time: 16 minutes Read More Anton Deshawn A Conversation with The Untold Story of Mild Sauce Writer/Director Anton Deshawn Writer/Director Anton Deshawn joins COTC for a deep dive into his short film Chris Chaisson Reading Time: 11 minutes Read More Dani Abraham A Conversation with Murder, Anyone? Producer Dani Abraham Cup of Tea Critiques has a chat with Murder, Anyone? producer Dani Abraham Chris Chaisson Reading Time: 14 minutes Read More Alex Morsanutto A Conversation with Operation: Cavity Writer/Director Alex Morsanutto Cup of Tea Critiques sits down with indie director Alex Morsanutto Chris Chaisson Reading Time: 10 minutes Read More

< Back Opus poses questions about tribalism and the allure of fame A24, 2025 103 minutes Director/Writer: Mark Anthony Green Reading Time: 6 minutes Opus Feast (9L5SNPNTMM9NAGCF) 00:00 / 06:08 📷 : Pixabay Ginseng: Suspenseful and intense thrillers Oolong: Movies and TV shows that make you laugh or involve physical activities like dance and exercise Chris Chaisson 2025-03-14 Fandom creates communities. Whether it’s for a sports team, a movie franchise, or a pop star, people form lifetime bonds over their shared love for a source of entertainment. It can rear its ugly head just as quickly when fans assume the role of protector. We’ve seen online bullying and doxing when writers criticize Taylor Swift, or fights and verbal abuse break out at Raiders games. Tribalism has a strong hold on anyone who feels the need to belong and can evoke criminal behavior from otherwise mellow, well-intentioned beings. What makes it worse? When the worshipped entity contributes to and encourages the behavior; maybe even demands it. First-time writer/director Mark Anthony Green tackles this phenomenon in the new A24 movie Opus . Ariel (Ayo Edebiri, The Bear ) is a magazine writer in her late 20’s who wants to have her breakthrough story. When her friend points out that she is lacking the life experience necessary for a gripping perspective, Ariel feels compelled to join her boss Stan (Murray Bartlett, The White Lotus ) on a retreat to the compound of a former pop star, Alfred Moretti (John Malkovich, Burn After Reading ), who is releasing new music. His expansive resort exists in an isolated location, over 50 miles away from civilization. Upon arriving there, Ariel notices strange behavior from the fan community that has assimilated. Combined with the removal of their communication devices, she realizes that she, Stan, and a few other professionals from the outside world may be in grave danger. Can she figure out a way to escape? While Opus evolves into a suspenseful thriller, Mark Anthony Green takes full advantage of the comedic talents his cast possesses. For the first hour, Ayo Edebiri effectively plays the straight man in a comedy skit. Her compadres, including Stan, an entertainer named Clara Armstrong (Juliette Lewis, Yellowjackets ) and social media influencer Emily (Stephanie Suganami, Something from Tiffany's ) find themselves seduced by Alfred’s charisma and entertainment skills, while Ariel has her guard up from the very beginning. Several humorous moments ensue, like when a concierge tails her for a morning jog, mirroring her strides only a few steps behind. Similarly, another of Alfred’s cohorts wants to give Ariel a makeover and asks her an invasive question about her shaving habits. The humor escalates when Alfred later performs his single on stage with all the newcomers and unveils several suggestive dance moves while wearing an unorthodox costume. The camera flashes to close-ups on the surrounding fans entranced by the beat and repetitive lyrics. Even when it is evident the vibes will eventually take a sharp turn, the behavior of Alfred and his fans, met with Ariel’s skepticism, provides several big laughs. Opus quickly approaches the point of no return, where the comedy falls away and Alfred’s fans prove themselves capable of violence. Knowing that she and the others are being surveyed full time, she sneaks away through a window to recover her phone and computer. The somewhat friendly but overbearing concierge kicks her bedroom door in to look for her and finds her missing. The aggressive act and thud of her kick marks the end of the comedic part of the film and beginning of the horror and suspense. When Ariel realizes that she will not be escorted out but will instead have to run, hide and fight, the movie shifts to a darker mood and the action ensues. This part of the film still provides a couple of laughs but also more gore and suspense. Ultimately, it feels rushed and somewhat clunky. Like a gymnastics routine, films are ultimately judged by their dismount. Many moviegoers will question Opus ’s ending, which ironically enough seems to question us. Even if we can be observers of toxic fandom and ruminate over its effects, can we just as easily partake in it and even wish to be the object of it? Most of us want to be considered remarkable whether we are or not, meaning we can both be seduced by the fame of others and want it for ourselves. While we are all familiar with the idea of a cult in its most literal form, we readily join more subtle and assimilated versions of cults surrounding our favorite entertainers. Do we draw a line in how committed we are to them? It remains an individual choice; some of us choose different places to draw the line and others don’t draw it at all. Even when we think we have, we may jump at the chance to elevate our own status and influence others to be fanatics just the same. Opus incorporates intentional humor into its premise better than many other like-minded films. Movies that it may bring to mind include A24 predecessor Midsommar , as well as the 1970s film The Wicker Man and its more farcical 2006 remake featuring Nicolas Cage. A more recent work tackling the same subject was the Amazon Prime Original Swarm about a fan obsessed with a modern-day pop star. Opus chooses the more literal portrayal of a cult and features a dated pop star, which highlights just how much of a grip fame can have on fans, even long after a celebrity’s heyday. It holds a mirror up to us in the same way as Swarm while placing us in an environment like Midsommar and The Wicker Man . Though it provides a few more laughs thanks to well-timed gags and a very capable cast, Opus leaves us with some food for thought as well. 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< Back Theater Camp excels in creating humor through self-awareness Searchlight Pictures, 2023 92 minutes Director/Writer: Molly Gordon and Nick Lieberman Reading Time: 5 minutes Theater Camp Hope Springs Internal (C4309WFEUTCMHX2D) 00:00 / 05:10 📷 : Licensed from Shutterstock Ginkgo Biloba: Youthful, lighthearted, and fun movies and TV shows Oolong: Movies and TV shows that make you laugh or involve physical activities like dance and exercise Chris Chaisson 2023-07-27 It’s no secret that comedy is an ever-evolving art. Not everything that was funny in the ‘70s, ‘80s or ‘90s induces the same raucous laughter now. Sometimes, avid fans of acclaimed comedies from these decades cringe at how outdated or tasteless the humor is on a re-watch. Nonetheless, certain principles of comedy and its performers will always hold true. Good timing, authenticity and self-awareness will always succeed no matter the social climate. These strengths are what make Molly Gordon and Nick Lieberman’s Theater Camp such an endearing indie project. When the owner of Adirond Acts theater camp, Joan (Amy Sedaris, Elf ), slips into a coma, her son Troy (Jimmy Tatro, 22 Jump Street ) is tasked with keeping the business afloat. Meanwhile, Amos (Ben Platt, Pitch Perfect ) and Rebecca-Diane (Molly Gordon, Booksmart ) must co-produce and co-direct a play within three weeks for the talented camp members to honor Joan. Joined at the hip, both aspire to perform professionally but agree to teach until they get their big breaks. Not only have they not even started writing the play, but they must deal with Troy’s ill-fitting fundraising attempts to head off bank foreclosure on the camp. Adapted from a 2020 short film of the same name, Theater Camp is shot as a docu-style comedy and leans entirely on humor. There are no love stories or action sequences to make the motion picture a blend of multiple genres, meaning its comedy has to be even more on point. The quirky indie excels in this regard due to the performances of its cast, the editing, and most of all, its authenticity. A key element of successful comedy is respecting the audience’s intelligence. Theater Camp not only does this well but simultaneously respects the intelligence of its characters. Rather than writing the child characters as silly and ignorant, as many adult writers feel compelled to do, Molly Gordon and Nick Lieberman create child characters that are smart and self-aware. Designated stagehand Glenn (Noah Galvin, Assassination Nation ) even conveys this to Troy, saying, “These kids are smart; you just have to meet them on their level.” Additionally, Theater Camp does an impeccable job of balancing the displays of stereotypes in the world of theater. It presents three-dimensional characters without being disingenuous. For instance, Troy plays a fairly dense “bro” character completely unfamiliar with anything related to theater. On the other hand, Amos and Rebecca-Diane are very expressive and dramatic in their disagreements, a common personality trait for performers in many fields. The film even mocks influencers, as Troy tries to get a young group of social media investors called The Founding Ballers to financially support Adirond Acts. They walk around the camp with selfie sticks and give constant monologues about what they are doing, a familiar site for those who spend time on YouTube. Despite having stereotypical traits, the way the characters interact with each other is what gives them depth. Even though he has no passion for theater, Troy treats everyone with kindness and respect, defying the expectation that he would act as a bully or a bigot. Amos and Rebecca-Diane consistently uplift the children at the camp and put aside petty differences for the good of the production. Rather than a “man vs. man” conflict, the struggle in Theater Camp is the group’s short time frame and the impending foreclosure. Money and deadlines provide the biggest obstacles to success rather than mean-spirited people. This allows for the camp to be portrayed as a place where theater actors are accepted rather than bullied or marginalized. Gordon and Lieberman also make sure no matter how absurd or theatrical any scene gets, there is a straight man calling out the absurdity. Even with Troy as a central character, the children and other counselors often provide this stabilizing presence. Rebecca-Diane’s earthy vernacular draws raised eyebrows and frank responses from either the kids or Janet (Ayo Edebiri, The Bear ), a counselor with no theater background who lied on her resume to get the job. Just the same, when Janet tells fake stories about her qualifications, another counselor asks her, “What exactly do you do here?” The characters achieve three-dimensionality simply through their interactions with each other. For the best comparison to Theater Camp , venture into the world of animation and look at the 2016 children’s movie Sing . In the critically acclaimed kid’s comedy, a theater owner in a city of human-like animals tries to save his struggling business with a singing competition. The film acknowledges the quirks and eccentricities of talented performers, regardless of background, instead of pretending they don’t exist. Rather than including a cartoonish villain, both Sing and Theater Camp cleverly use life circumstances as the antagonist, leaning on self-awareness and introspective characters for laughs. 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< Back The Baltimorons shows characters breaking out of their perceived limitations Duplass Brothers Productions, 2025 101 minutes Director/Writer: Jay Duplass / Jay Duplass and Michael Strassner Reading Time: 6 minutes The Baltimorons Christmas Wish (XCUORJD1HGJNHVFV) 00:00 / 07:44 📷 : IFC Films and Sapan Studio Jasmine: Movies and TV shows with heart, positive vibes, and warm messages Mint Movies and TV shows in cold weather and blizzard conditions Reba Chaisson 2025-10-16 The popular adage says that what happens in Vegas stays in Vegas. The trip to what is known as Sin City is meant to be an escape from reality, which includes but is not limited to the past due bills and stressful relationships we leave behind. Much more so than other vacations, the high people get from Vegas is not only natural, but it is heightened. No real need for weed, but I wouldn’t know (wink). Jay Duplass’s The Baltimorons , though, has nothing to do with Vegas, but everything to do with its aspects of escapism that elevate the senses. Set in Baltimore and led by Michael Strassner and Liz Larsen as Cliff and Didi, respectively, The Baltimorons is about a roughly thirty-five-year-old man struggling to stay sober using humor and maintaining connections to the people and activities that bring him joy. You wouldn’t know this from the film’s opening, which shows Cliff walking up a narrow staircase to an attic, proceeding to stand on a stool and put his belt around his neck, and clumsily falling flat on his bottom. The absence of any sound other than Cliff’s groan and the stool hitting the wooden floor make an otherwise sad scene quite hilarious, thus setting the tone for the movie. The inciting incident in the film occurs when Cliff and his fiancée, Brittany (Olivia Luccardi), arrive at her parents’ home for Christmas Eve dinner. When she sees a text come across his phone regarding plans to hang out with his friends later, the two argue as they exit the car. Distracted while texting his friend, Cliff crashes into the Luccardis’ entry door, knocking out his tooth. In search of a dentist, he finally finds Dr. Didi Daw, a mid-forty-year-old divorcée, who agrees to meet him at her office. When Cliff’s car is towed while receiving care and Didi’s plans for family dinner are abruptly canceled, the two wind up spending the day together. With humor, jazzy Christmas music, and festive holiday decorations in mostly neighborhood settings, The Baltimorons maintains a light tone while dealing with what are normally heavy subjects. When Cliff calls his best friend Marvin (Rob Phoenix) for help getting out of a jam for instance, Marvin, who is a Black man, is incredulous to learn of Cliff’s request, responding “You want me, a Black man, to break into a tow yard?” It is only then that Cliff realizes he was asking his friend not only to commit a crime but that the perception (and likely consequences) of Marvin doing such a thing is very different than they would be for someone who is White. This exchange in the film is brilliantly executed, as its point is dulled neither by its brevity nor its humor. Complementing these humorous and teachable moments are the quiet spaces left for more serious, intimate dialog to soak in. Surprised, for instance, that Cliff wants to have dinner with her, Didi asks him “Why do you want to have dinner with me?” “Because we’re having fun,” he responds. Didi’s question suggests she has doubts about her own attractiveness. This is not unusual for women who have experienced divorce. Therapist Lara Farrokh writes that “[they] often feel like potential partners will see them as ‘used goods’ — as if women are like cars which devalue with age and use.” Cliff’s response in this tender exchange speaks to his feelings of vulnerability, which is an unusual depiction of men, particularly for those of higher weight. This group is often treated as if they are made of metal exteriors, as if they don’t experience physical or emotional pain like others, or that they cannot and should not be taken seriously. Cliff flips these conceptions on their head. The class and age differences between Cliff and Didi are subtly highlighted in the The Baltimorons . When Cliff sees Didi’s home, he jokes that she has good credit. The comment calls attention to Didi’s lifestyle in contrast to the numerous past due bills casually strewn on Cliff’s table at his home. And when Didi indicates she is unfamiliar with sketch comedy, Cliff happily explains the art form to her. Such moments in the story speak to the social class and generational gaps, respectively, between the two adults. The contrasts allow us to hold up a mirror to ourselves to consider where we fall on each spectrum. We can even reflect on how we conduct ourselves when we encounter people in social and age locations different from our own. The Baltimorons brings to mind similar indie films like Raine Allen‑Miller’s 2023 debut feature, Rye Lane , and Nora Ephron’s 1993 classic, Sleepless in Seattle . Both depict serendipitous events that bring two people together. Like The Baltimorons , they use wit and humor to avoid being heavy and preachy while they invite questions about friendship and complicated romantic relationships that we stumble into. While Cliff periodically updates Brittany on his whereabouts, ensuring her that he will be home soon, it becomes clear that neither he nor Didi are quite ready to go back to their lives. What is never spoken out loud, however, is how different their lives are. That is, despite the difference in age and social class, the two gravitate toward one another. When she and Cliff perform an impromptu set at a sketch comedy club, he admits to her that he didn’t think he could ever do anything like that sober, suggesting how invaluable her support meant to him. When Didi’s ex-husband takes several verbal jabs at her, Cliff interjects to humiliate him, indicating how he is becoming protective of her. I love this film about two people who can be seen as needing an escape to avoid the realities of their lives at a time of year when people often feel lonely. In addition to being funny and entertaining, The Baltimorons teaches us that the social dimensions we occupy don’t have to be hard lines or barriers that keep us from engaging one another and enjoying the rich relationships that can evolve from that. Indeed, Cliff and Didi would probably describe their time together as fun, surreal, and just what they needed at that time. But where does Brittany fit in all of this? As Cliff’s fiancée, she not only wonders but worries about where and why he has gone AWOL on one of the most significant family holidays of the year. Unfortunately for her, he might as well have been in Vegas. Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back GriGris displays the disabled experience as more than just hardship Pili Films, 2013 101 minutes Director/Writer: Mahamat-Saleh Haroun Reading Time: 4 minutes GriGris Bouar (XRN3I6A7ZLRKJGIQ) 00:00 / 05:47 📷 : Licensed from Shutterstock Sage: Movies and TV shows with low-key characters Jasmine: Movies and TV shows with heart, positive vibes, and warm messages Reba Chaisson 2022-03-14 Too often, films starring characters with disabilities make the disabilities themselves the lead characters in the story. I think of Oscar-winning films like Children of a Lesser God . Released in 1986, the movie stars Marlee Matlin, who is hearing impaired, as a staff member at The Governor Kittridge School for the Deaf . Her character, Sarah, falls in love with James, the new speech teacher played by William Hurt. The setting combined with the contrast in their abilities to speak and hear helped center deafness as the story’s focal point and allowed it to take on a life of its own. The same can be said of My Left Foot , another Oscar-winning film in which Daniel Day Lewis starred as a man with cerebral palsy who learned to use his left foot to write and accomplish everyday tasks. Set in early 1930s Ireland and based on a true story, the film opens soundlessly with a scene of a man’s left foot struggling to place a vinyl record onto a turntable, and then gingerly setting the needle down to start the music. Released in 1989, the film chronicled “Christy’s” struggle to be recognized as someone who was limited only by his physical inabilities, as his cognitive abilities were sharp and intact. The timing of these movies helps explain why disabilities were centered in the stories. Mainstreaming, or moving people with disabilities from exclusive institutions into regular schools and workplaces, was promoted in the mid-1980s. The assimilation expanded the breadth of diversity in these settings. It broadened the exposure, awareness, and social lives of many young people, making them more accommodating and receptive to people with varying needs, and who sometimes looked and behaved in ways different than they were used to. Entertainment should reflect this by producing films that are inclusive without aiming to center the disability. GriGris (pronounced Gre’ gre) is one of those films. In some ways, GriGris reminds me of the 1977 movie, Saturday Night Fever . Instead of “Tony Manero” dancing to the Bee Gees’ “Night Fever” and “You Should Be Dancing,” “GriGris,” the main character, moves to the sounds of Wasis DIOP’s blend of jazz and pop. The dancer even takes off his shirt and shows his abs for good measure! Set in Chad, GriGris stars Souleymane Démé as a quietly resourceful 25-year-old who, despite his bad leg, is a popular dancer in the local night club where he performs on weekends for extra money. Indeed, everyone in his rural village has a side hustle, or two, or three. Those with a high-risk tolerance for getting caught by the authorities have “employees,” and drive cars rather than walk the red, dry, dusty roads to get around. A dedicated son committed to his parents, GriGris encounters trouble with Moussa, played by Cyril Gueï ( Hitman , Un flic ), a major hustler in his village, while engaging in a side hustle to help his family. But he meets Mimi, played by Anaïs Monory ( Overdrive , L’Invite’ ), a young woman who steals his heart. Unfazed by his physical disability, she is impressed with his dancing skills, appreciative of his displays of chivalry, and adoring of his upper body. She, however, has secrets and sharing them could put their relationship at risk. What kind of man is GriGris and how will he respond, particularly given that his own life is in peril? Unlike the aforementioned movies from the ‘80s, which can be argued as paving the way for featuring people with disabilities in film, GriGris does not make the main character’s disability the lead in the show. Instead, it focuses on a man’s humanity, character, and desires. This may or may not speak to how far disability inclusiveness has come in film though. At best, it can probably be described as still in the process of mainstreaming. For example, The Upside , a 2017 film starring Bryan Cranston as a person living with quadriplegia, is a bright, upbeat, and uplifting comedy-drama; yet, “Philip’s” disability is very central to the story. On the other hand, the cast of the 2021 series, Mare of Easttown , includes Kassie Mundhenk, an actress with Down syndrome. She is simply presented in the show as just another integral member of her family. The latter should be the goal. GriGris follows the contemporary inclusive model for film. It provides entertainment cloaked in drama, love, and suspense rather than a story about what it means to be disabled. Such stories and conversations are important for enhancing our understanding about the challenges of living with a disability. Some space, though, should be set aside to present people with physical and cognitive disabilities just living their lives like everyone else–with a little bit of love, mystery, occasional complications, and yes, fun! Previous Next Sign-up for new reviews, exclusives, deep dives, and more First name Last name Enter your email here I agree to the terms & conditions Sign-up Thanks for joining us!

< Back Missing disorients time and place with suspense and thrill Stage 6 Films, 2023 111 minutes Director/Writer: Nicholas D. Johnson and Will Merrick / Will Merrick, Nicholas D. Johnson, Sev Ohanian Reading Time: 5 minutes Missing Quiet Desperation (HRM7QT5CDUE33KUJ) 00:00 / 05:33 📷 : Used with permission, Netflix Coca Movies and TV shows about drugs or with disorienting presentations Ginseng Suspenseful and intense thrillers Reba Chaisson 2023-06-15 As adults, we sometimes carry grudges against our parents for all kinds of things. As time passes, we either shake them off or become increasingly incensed. “How could Mom possibly do that?” “Well, she didn’t do this!” “Mom likes you better than me.” In our complaints, we former kids come off as omniscient, as if we had a complete understanding of the nuances of parenting as preadolescents and teenagers. The film, Missing , humbles us by letting us know that as kids, we understood little about the decisions parents made to do what was best for their children. At first glance, a movie where the audience spends half the duration of the film looking at the reflection of the lead actor in monitors and mobile phone screens seems inconceivable, corny, and unappealing. Well actually, all are still true. However, Missing evolves into a suspenseful thriller about a woman who goes missing and her daughter’s efforts to find her. Along the way, the film reinforces the intended function of technology, which is to serve as tools that not only simplify our lives but, when used optimally, can help with challenging and arduous tasks. Storm Reid ( A Wrinkle in Time , Euphoria ) plays June, a tech-savvy 18-year-old occasionally irritated by her mother’s tendency to fuss over her. Insistent on calling and texting to check on her, Grace, June’s single mom played by Nia Long ( The Best Man: The Final Chapters , Look Both Ways ), is loving but also obsessed with keeping her only child safe. While June is a normal older teen with the obligatory best friend and a healthy peer group, she experiences moments of melancholy when sitting in front of her oversized computer monitors. Pulling up a home video of her late father James, whom she was close to as a young child, helps us understand that she still grieves his loss. On this day, Grace is excitedly preparing for a vacation in Cartagena, Columbia with Kevin, her sedate partner played by Ken Leung ( Industry , Lost ). Not as adept as her daughter at technology, Grace inadvertently Facetimes June instead of calling her. Flustered, Grace explains to June when she will return and asks her to pick them up at LAX. June replies in the affirmative with strong hints of annoyance and sarcasm in her tone – “Yes ma’am.” Sound familiar? The mood of the film suddenly turns ominous when Grace and Kevin do not get off the plane from their scheduled flight, and June’s efforts to reach them are in vain. Planting herself in front of her computer, we see her reflection in the monitors for much of the film as she desperately makes phone calls, sends texts, and breaks into emails for clues on their whereabouts. In this sense, Missing brings to mind the 2018 film, A Simple Favor , with Anna Kendrick as Stephanie, a vlogger who uses technology to locate Emily, a missing woman played by Blake Lively. Providing background noise, or what can also be viewed as the soundtrack for Missing , is the familiar sound of computer work, such as telephone ringing, text message bubble bursting, and fingernails hitting the keyboard. In addition to the audio, the film also provides an unorthodox movie experience with doorbell cameras and video chats. For example, June has video chats with personnel at the U.S. Embassy in Columbia and also with Javier, a messenger in Cartagena played by Joaquim de Almeda ( Warrior Nun , Queen of the South ). Through the video interactions, the audience is given the sense of remote work. Images of Columbians in outdoor settings reveal the architecture and the bright and clear days. People moving about in short sleeves and tank tops indicate the hot temperatures. And the honking of horns gives a sense of the city as busy and congested. The effect of these combined with the aforementioned soundtrack, gives the sense of watching a movie within a movie. So rather than the audience being contained to June’s room to stare at her reflection for much of the film, Missing uses video images to provide a sense of movement in the film, not to mention an international flair. Despite her deftness at technology, June becomes frustrated when she can neither get the answers she wants nor the help she needs. She is at the mercy of people who sympathize but do not share her urgency in finding Grace. One example of this is her need to see the hotel’s security camera video before it loops. While the embassy worker does take June’s call, he does not sufficiently engage to be of help. Javi, on the other hand, will, but for a price. Through these experiences, June realizes that technology and the skills to use them are powerful, but both have their limits when you don’t know what you don’t know. At some point, footwork and face-to-face engagement are necessary to find the answers to questions you don’t know to ask. What is uncovered in this virtual-to-reality thriller blindsides us, leaving us with the all too familiar epiphany that we ignore as children and young adults. We might think we’re smarter than our parents, but we don’t know anything. 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< Back Sinners takes vampirism to the Deep South Warner Bros., 2025 137 minutes Director/Writer: Ryan Coogler Reading Time: 7 minutes Sinners Swamp Tale (G9X2F45UL234MNVH) 00:00 / 07:36 📷 : Used with permission, Nuno Sarnadas (www.darkdesign.pt ) Rosemary: Movies and TV shows with intense action Saffron Movies and TV shows with great visual effects Chris Chaisson 2025-05-08 Zombie films seem to have been all the rage the last decade or so. The popularity of The Walking Dead has led us to embrace the post-apocalyptic universe in the entertainment world and question our own survival skills. As I discovered on a trip to the bookstore during Covid, much in the world of fiction, whether in novel or screenplay form, imagines a dystopia as opposed to the contemporary, somewhat functional society. Even stories such as The Handmaid’s Tale , the Hunger Games trilogy, or the Mad Max franchise exist as zombie movie fill-ins, with people acting as blood-thirsty monsters without a conscience just the same. These stories can be thrilling and reveal the character of its survivors amidst their difficult decision-making, but as far as monster movies go, they represent a bleaker reality than, say, vampire movies. Over the holiday season, I went to see Robert Eggers’s rendition of Nosferatu with my father. As we left the theater, he mentioned that though he enjoyed it, he was expecting it to deviate from the original a little more than it did. Having not seen the original, I went into it with very little expectation but enjoyed the traditionalist feel that it presented. My association with vampire movies leaned more in the modern, fast-paced action category, which is to say, Buffy , Blade , and Underworld . The great thing about a fantastical sub-genre like vampire movies is the ability to place it in both real and surreal universes, as most of us are familiar enough with the concept of vampires to buy into them. Ryan Coogler’s new hit, Sinners , takes vampirism to a world we all know but have not seen vampires represented in: Jim Crow in the Deep South. Set in the 1930’s, Sinners kicks off with twin brothers Smoke and Stack (Michael B. Jordan) returning to their home state of Mississippi after spending a few years in Chicago. Happy to be home, they buy an abandoned farmhouse with the plan to run a juke joint and host a grand opening. After closing the deal, they head into town to reunite with their cousin Sammie, a talented musician, and spread the word about their opening. Once the evening falls and everyone shows up for a good time, three strangers arrive with their instruments and Irish folk tunes in hopes of joining the festivities, but something seems off about them. After Smoke and Stack turn them away, Stack’s old flame Mary (Hailee Steinfeld), starts after them to play peacemaker. This gesture proves to be a mistake and sets off a chain of violent supernatural events no one saw coming at the beginning of the night. The brilliance of Sinners is its multi-faceted nature. Rather than immediately jump into vampirism, it sets up a compelling story that can exist independent of its supernatural elements. The first half of the film delves into the pasts and desires of its main characters in relation to music and business. Smoke and Stack have had their fill of the North and have returned to their roots to run a successful establishment. Although they do not necessarily want to revisit their young and immature ways, they need the support of their chums from the past. Sammie has a deep passion for blues guitar and a captivating singing voice, but his father Jedidiah believes his musical exploits to be the work of the devil. Delroy Lindo plays Delta Slim, an alcoholic musician who jumps at the opportunity to participate in Smoke and Stack’s grand opening. He fears that he doesn’t have very many of such experiences left in his future. These various storylines and motivations combine for an enjoyable party scene before the crap hits the fan. In a way, the gathering is reminiscent of teen party comedies such as House Party , Animal House and Project X , but with a more earnest and soulful intention behind it. The characters escape from the pressures of life expectations and the dangers of being Black in the Jim Crow South, even if just for a few hours. While Sinners deviates from other vampire movies in certain respects, it maintains plenty of vampire folklore. For instance, there are a couple of intense standoffs at the entrance to the farmhouse when those who have been infected ask to come in, a request vampires must make before entering. Just the same, the vampires have superhuman strength, become excited by the sight of blood, and perish in the daylight. Maybe most significant to the atmosphere of the movie is their abilities of hypnotism and seduction. The film has its fair share of promiscuity before vampires ever enter the equation, as Smoke, Stack, and Jedidiah all engage in sexual acts in the first half of the movie. But the addition of vampirism to the story only heightens the sexual tension between the characters, many of whom are engaging in either infidelity or miscegenation, an unlawful act during the Jim Crow era. Most impressive about Sinners is its ability to weave in elements of history amidst the fiction and supernaturalism. Frequently throughout U.S. history, prosperous Black communities were viewed as a threat and were ravaged by White out-of-towners, burned down to smoldering remains. Neighborhoods in Rosewood, Tulsa, Harlem and many others suffered this fate. The film hints at these massacres with its imagery in the third act. Additionally, blues music has been subject to cultural appropriation, often being stolen from its founders or repurposed with no attribution. The antagonists in Sinners make the same effort, which Ryan Coogler captures in an opening scene filled with symbolism as Sammie limps back into town with mere shards of his guitar. Moreover, the film alludes to racism that Black people faced when they sought to travel north. Smoke comments early in the film, “Chicago ain’t nothin’ but Mississippi with tall buildings instead of plantations.” This statement alludes to the fact that while the economy in northern cities was more industrial than agrarian, the bigoted mindset and discrimination remained intact. Finally, two of Smoke and Stack’s friends include a Chinese-American couple with their own store in town who join the party. The vampires threaten to raid the store and harm their children, alluding to the threats that many Asian-American immigrants also suffered at the time. All in all, Sinners stays true to much of the folklore surrounding vampires, appealing to fans of the sub-genre itself. However, it strategically places new elements around the vampirism: a predominantly Black cast, the backdrop of 1930s Mississippi, and the infusion of blues music. It blends genres like comedy, action, historical fiction, and even the “teen partying” into the story. The film’s multifaceted nature allows viewers to catch something different when watching a second or third time, while not being too preachy or on-the-nose with the social issues it broaches. The genre blend makes it difficult to provide a comparable film, so I will instead say Sinners is True Blood meets Mississippi Burning with just the right amount of Mo’ Betta Blues . Hopefully, when you check it out, it makes more sense than whatever I just said. 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