A history of Black representation in US cinema, with a focus on the 1970s. An excellent and detailed chronological overview. Lots to think about here, and fresh light on relative obscurities offered. Clips and interviews galore. Recommended.
An orphan seeks revenge on the fashion maven who killed her mother. Confident, stylish, though thin and overlong prequel to 101 Dalmatians. Basically a supervillain origin story (Cruella is Tim Burton-era Batman, plus Joker and Catwoman here) though borrowing from all-sorts, including The Terminator. MVP is Paul Walter Hauser, though everyone is in on the joke.
Three New York women take over their imprisoned husbands’ protection racket. Lovingly-designed but superficial 70s-set crime drama based on a graphic novel, with strong performances and a great cast in depth. The tick-box script is the issue; a poorly-handled FBI subplot doesn’t help either.
LA, 1973. A cursed social services worker has her family stalked by a vengeful child-killing spirit. Competent jump-scare horror with links to the Conjuring universe. Some decent period details, solid character actors galore, and a few well-engineered shocks. All-but-bloodless fare, but entertaining enough.
A dancer joins a troupe that’s a front for a coven. Startling remake of the Argento original that while not having the bravura dream logic of the original is nevertheless an unsettling and well-sustained piece of work. Respectful enough to pay homage, but different enough to be its own beast.
The rise and fall of 1970s heavyweight contender and Rocky analogue Chuck Wepner. Well-judged biopic that despite featuring every one of the usual story and character beats, hits every one of them with unassuming skill.
A weapons deal goes bad. A contrived but slick, funny, and thoroughly entertaining action/horror hybrid that makes no bones about its B-movie borrowings. Everyone involved is clearly having fun; Wheatley’s best film to date.