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Dear Flixster Community,

After seven fabulous years with you all, we are sorry to let you know that we're going to be retiring the Flixster Community site on September 30, 2014. Please note that you can still access your ratings, reviews, and quizzes on Flixster and Rotten Tomatoes using your same login. We have had so much fun building this community with you.

Thanks for all the memories,

Top Box Office

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    Rahne Sinclair (Maisie Williams), Illyana Rasputin (Anya Taylor-Joy), Sam Guthrie (Charlie Heaton) and Roberto da Costa (Henry Zaga) are four young mu... read more
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  • Unhinged

    Unhinged (R, 2020)

    Academy Award-winner Russell Crowe stars in Unhinged, a psychological thriller that takes something we've all experienced--road rage--to an unpredicta... read more
  • Infidel

    Infidel (R, 2020)

    INFIDEL is a contemporary political thriller set in the Middle East and filled with suspense and intrigue, inspired by true events, and ripped from to... read more
  • The Infidel

    The Infidel (Unrated, 2010)

    Meet Mahmud-Nasir, loving husband, doting father and something of a "relaxed" Muslim. He may not be the most observant, but in his heart he is as Musl... read more
  • Words on Bathroom Walls

    Words on Bathroom Walls (PG-13, 2020)

    WORDS ON BATHROOM WALLS tells the story of witty and introspective Adam (Charlie Plummer), who appears to be your typical young adult -- a little unke... read more
  • Black Panther

    Black Panther (PG-13, 2018)

    "Black Panther" follows T'Challa who, after the events of "Captain America: Civil War," returns home to the isolated, technologically advanced African... read more
  • Bill & Ted Face the Music

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    The stakes are higher than ever for the time-traveling exploits of William "Bill" S. Preston Esq. and Theodore "Ted" Logan. Yet to fulfill their rock ... read more
  • Minions

    Minions (PG, 2015)

    The story of Universal Pictures and Illumination Entertainment's Minions begins at the dawn of time. Starting as single-celled yellow organisms, Minio... read more

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  • The Nest

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    Rory (Jude Law), an ambitious entrepreneur and former commodities broker, persuades his American wife, Allison (Carrie Coon), and their children to le... read moreave the comforts of suburban America and return to his native England during the 1980s. Sensing opportunity, Rory rejoins his former firm and leases a centuries-old country manor, with grounds for Allison's horses and plans to build a stable. Soon the promise of a lucrative new beginning starts to unravel, the couple have to face the unwelcome truths lying beneath the surface of their marriage.
  • Fatima

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    In 1917, outside the parish of Fátima, Portugal, a 10-year-old girl and her two younger cousins witness multiple visitations of the Virgin Mary, who t... read moreells them that only prayer and suffering will bring an end to World War I. As secularist government officials and Church leaders try to force the children to recant their story, word of the sighting spreads across the country, inspiring religious pilgrims to flock to the site in hopes of witnessing a miracle. What they experience will transform their quiet lives and bring the attention of a world yearning for peace. Based on real-life events and starring Joaquim de Almeida ("Queen of the South"), Goran Visnjić (Beginners), Stephanie Gil (Terminator: Dark Fate) and Lúcia Moniz (Love, Actually), with Sônia Braga (Aquarius) and Harvey Keitel (The Piano, The Irishman), Fatima is an uplifting story about the power of faith.
  • The Way I See It

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    No information available.
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Top In Theater Reviews

  • Minions (PG, 2015)

    Did we really need this? seriously, this doesn't actually feel like a genuine movie, but more like a... read moren unnecessary accessory that has been forced out purely to capitalise on merchandise...oh I see. Yes that's right folks, the tiny, annoying, little bug things called minions are back in their very own prequel/spin-off which, as far as I'm concerned, was made purely to sell plush minion toys. I mean honestly, did these characters really need a bloody prequel? was their backstory that important? did we really need to see how they all became minions of Gru? Oh shit, yeah I keep forgetting about the shameless cynical money aspect in all this.

    So apparently the minions have been around since the dawn of the Earth, they were around before man and the dinosaurs, emerging from the sea with the first tetrapods (the wonder that is Google). From the very first moment they did this they have all craved a boss, a leader to follow and serve...for some reason. No explanation is ever given for this, they just do this, and for some reason this leader has to be evil, God knows why, but there you go. This also leads me to question other simple things about these little yellow pill shaped creatures. Firstly, are there any female minions? I don't think we ever see any, so how do they breed? do they have both sexual bits? now I think of they even die?? Apparently they have all survived since the dawn of time, yet I don't think any of them ever die or age, its the same characters the whole way through, anyone else think this is odd.

    At the start of the movie we get to see the various people/creatures the minions have served throughout time. Now I did quite like this small sequence of events as it was quirky and amusing to see the different scenarios and time periods. Had this simply been a quick animated short it would have been pretty sweet, these spin-off things tend to work better in short bursts and this sequence proves that. But even this decent set of ideas was marred in stupidity, like why would they follow a T-Rex (for all intense and animal) that would or should eat them and wouldn't understand or need henchmen. Its the same as them all serving a wildcat, makes no real sense, and why would Dracula need so many minions? yeah OK I'm delving too deeply into this but it just felt dumb, stretching for gags. Plus the fact they manage to accidentally kill off all their leaders, you'd think they quit the whole notion.

    As for the rest of the plot, it all just felt so forced, the same old spiel yet again. The minions end up travelling around to various places (thusly appealing to as many as possible) eventually ending up in London, cue a shittonne of cliched visual gags involving British culture that we've all seen before and simply isn't funny anymore. You all know what I mean of course, tea, snobbery, suits, bowler hats, accents and the Queen...who is part of the plot. Oh yes! the plot, forgot about that, well its all about the minions simply trying to find a leader to serve, and they do in the form of the bland Sandra Bullock voicing Scarlet Overkill, yet another predictably unoriginal strong female character that are obligatory these days. Overkill orders them to steal the Crown jewels for her but the minions end up messing it up with one of them pulling the mythical Sword out of the Stone?? and becoming King of England. OK what's wrong with that picture!! the time period is the 60's, where exactly does the Sword in the Stone fit in? Anyway Overkill wants her jewels and to be Queen of England, so the minions voluntarily do this for her, she tricks them and locks them up, the minions then escape in order to apologise to her hoping everything will be OK. Wut??! yeah this plot isn't too thin and padded out.

    Gotta ask, leaning back towards things not making any sense, how come people aren't freaked out by minions? No one seems to bat an eyelid with them, yet they are clearly a form of life that no human knows about or has ever really come into contact with before (in the original tow movies they have clearly been established). So no one seems terrified or curious about these bizarre alien-like creatures, the fact some have one eye, they're yellow, they speak their own language, their body shape, where they came from etc...In fact it appears monsters and ghouls are a regular part of everyday life in this jumbled little universe because the Creature from the Black Lagoon is apparently alive and well (him and Dracula). Next to that we also have some, quite frankly, inane sequences which show a part of India close to Australia? (connected by a bridge?), and the moon landings were indeed fake in this world too (what are they hinting at?).

    This movie did actually make like...a gazillion squillion Dollars at the box office so, I guess we'll be getting more (sigh!), but what amazes me is how horrendously obvious this 'movie'/merchandise machine is. Just because some top brass got a whiff that the minion characters were popular they grind out a pointless cash grab movie about them. That's like making a prequel/spin-off about the seven dwarfs from Snow White and how they lived before getting tangled up with her (oh shit I hope no one reads that...but if they do I want royalties!). Many movies have fun henchmen/sidekick characters, that doesn't mean you need to go make a bloody prequel about where they came from and how they met with the original films protagonist, sheesh! This movie has a few highlights yes, a few chuckle moments yes, but overall its a complete mess with nothing making any remote sense, even for an animated fantasy world (kids will now think India sits right next door to Australia...connected by a rope bridge).
  • Black Panther (PG-13, 2018)

    - by fb119770441704014
    Great film that truely represents the black community, not placing it into one particular category b... read moreut viewing them as mother, fathers, kings, warriors, good guys, bad guys...
  • Minions (PG, 2015)

    On the surface Minions is silly fun, but the narrative highlights a lot of delightful in-jokes that ... read moreshould entice hip viewers. Kids won't get them and frankly many adults won't get either. The floor in Scarlet Overkill's abode resembles the carpet in The Shining. Stuart greets the fire hydrant he fancies with "Papagena" which sounds like nonsense unless you realize it's a character in The Magic Flute. Kevin whistles a tune from Mozart's opera later. Scarlet Overkill's bedtime story about a big bad wolf is underscored by Prokofiev's Peter and the Wolf. But it's not all classical music. Baby boomers should dig the 60s fan service. Minions pop up out of a manhole cover just as the Beatles are crossing the street à la Abbey Road. The minions sing "Revolution", the "Theme from the Monkees", and "Hair". They watch TV while flipping past The Saint, Bewitched & The Dating Game. Alas there instances where toilet humor shows up like an unwelcome house guest. In those brief moments, taste takes a regrettable detour. However, more often than not, Minions is a feast for savvy pop culture aesthetes and their children as well.
  • Black Panther (PG-13, 2018)

    - by fb733768972
    The Marvel Cinematic Universe has now been around for nearly a decade and not only has it matured as... read more a franchise, but it has also evolved into something worth holding onto for generations to come. Sure, there are a few weak entries, but I don't think of this franchise as a series of movies anymore. This is a fantastic television series that's presented on the big screen a few times each year, that's had a few mediocre episodes along the way. Happily, Black Panther is their latest entry and not only is it far from mediocre, but it's easily the best film they've produced in quite some time. Look, I'm not going to sugar coat this review and call myself a fanboy who's blinded by the brand of Marvel. I genuinely thought this was a terrific entry and here's why.

    One of the best things about this film is that it stands on its own. Yes, seeing previous movies definitely elevates your experience, but it's been a long time since the Marvel Cinematic Universe released a movie that's not reliant on viewers having seen previous movies. That being said, Black Panther picks up not too long after the events of Captain America: Civil War. Don't let that be daunting to you or anyone who hasn't seen that film because this movie does a solid job at filling in the gaps without having to see that movie. The king of Wakanda has passed away and his son T'Challa has taken the mantle. With looming threats to have his throne stolen from him, he must take any precautions necessary in order to reign supreme. Quite honestly, unless you want this movie ruined for you, it's hard to expand on the premise itself, especially when it comes to the villain in Erik Killmonger.

    Everyone will want to discuss how well Chadwick Boseman fits into the role of T'Challa (Black Panther), but Michael B. Jordan is easily the highlight of this film. Once again, I'm not trying to let a highlight cloud my judgment of the movie as a whole, but the villain is honestly something remarkable here, especially for the standards that have been set by previous movies in this universe. His purpose for wishing to take down the titular hero will have you hating him and sympathizing with him all at the same time and that's when you know this character was created and presented with care. The interacting with Killmonger and the secondary character and the final few scenes that he and T'Challa get to spend together are honestly some of the best moments from any of these films in a very long time.

    Yes, I can admit that I loved this movie from start to finish, but I would be remiss if I didn't mention the few aspects that bothered me. Normally when I watch a movie, I never let CGI affect how I feel about a scene as a whole, but there were some noticeably cheap-looking effects here. Now, that's really all I have to complain about here because it didn't take away from anything. They're definitely noticeable, but I also found myself invested and tearing up during a couple of the final scenes, even though someone's body or a background looked fake, so I have nothing but incredible applause for Ryan Coogler and Joe Robert Cole on their fantastically written screenplay.

    In the end, superhero movies, in general, are hard to make these days, especially when many audience members seem to be growing weary of them. Personally, I think of this genre as any other genre. If you make a good film, then it's worthy of talking about, just as an indie drama that's up for Oscars is. This is a rich and wonderful world that's worth exploring. Superbly directed by Ryan Coogler, Black Panther is one of the best films in the Marvel Cinematic Universe and easily one of the best solo outings for a superhero.

    Has there ever been romantic comedy fatigue? No. Has there ever been horror film fatigue? No. People let themselves think they're having superhero movie fatigue because there are many of them made nowadays, but as I said, it doesn't matter if people have powers. A great movie is a great movie if you have a story worth telling, and Black Panther proves that statement tenfold. I can't recommend checking this film out enough. For comics fans and average moviegoers alike, I feel as though this will be a movie long-discussed.
  • Black Panther (PG-13, 2018)

    - by fb1025970122
    When your movie opens in Oakland you automatically enlist this inherent cool factor that appeals to ... read morethis child of the eighties, especially considering I've watched The Defiant Ones, Straight Outta Compton, and Boyz n the Hood in the last week. Opening the film with a brief history of the fictional nation of Wakanda, its origins, and how the Black Panther came to be a symbol for the monarchy that reigned over it and a hero to the people who resided within it director Ryan Coogler (Fruitvale Station, Creed) then drops us into this unsuspecting setting of Oakland, California in the early nineties where we are served a series of events that establish the basis for what will fulfill the drama that occurs in Marvel Studios' Black Panther. This is a smart move on the parts of both Coogler the director and Coogler the co-writer who, along with Joe Robert Cole (American Crime Story), roots the beginning of his film in the zeitgeist of hip-hop; when rap was finding its footing and when the world began to take notice of what was being said within the genre. This is most definitely intentional as Coogler no doubt means to draw the comparison so as to confirm any doubt that Black Panther isn't a movement within itself. Though there have been black super hero movies before (in this analogy Blade would be your Sugarhill Gang) Black Panther is more than a defining moment as there has never been anything this explicitly black in or about a super hero movie before. Black Panther doesn't just star an African-American in the lead role as the titular hero, but it is about black culture, about black heritage, and conveys the highs and lows, the good and bad of this world of which I have no rightful place to really speak and so I will trust that when the many black people I do know who have seen the film say it is a real *moment* for their culture and for society in general I will trust that it indeed is. On the other hand, the question is how does Black Panther rank in terms of being a piece of entertainment despite Coogler inherently making this about more than just entertaining the masses? Well, it's another in a long line of reliable if not completely singular Marvel movies that tend to only break the mold every once in a while. Granted, Marvel has been on something of a hot streak lately mixing up the genres of which inspire their fare (2017 was especially strong) and Black Panther is no different in this regard as it, by default of its source material, feels fresher than anything the genre has had to offer in some time even if the potential of all the positive factors going on within the film never seem to be fully realized.

    read the whole review at
  • Black Panther (PG-13, 2018)

    Black Panther is unlike any other Marvel Cinematic Universe (MCU) film prior. It's unlike any other ... read moresuper hero film prior. Yes, there have been African-American leading men in comic-based movies, notably Wesley Snipes' half-vampire-all-badass Blade. However, this is the first movie I can think of with this kind of budget, this kind of backing, and with this kind of ownership over its cultural heritage and the heavy burdens it carries.

    We last saw T'Challa (Chadwick Boseman) in Captain America: Civil War mourning the loss of his father, the king of the African nation of Wakanda. The outside world does not know that Wakanda sits on a vast supply of virbanium, the strongest and more durable metal in the world and the key to Wakanda's impressive technology. Under a holographic cover, Wakanda is a thriving metropolis with flying cars, skyscrapers, and next gen weapons. T'Challa goes home and must earn the right to the throne. However, Erik Killmonger (Michael B. Jordan), a former top-level black ops solider, is looking for his own path into Wakanda and onto the throne. Killmonger teams up with arms dealer, Ulysses Klaue (Andy Serkis), to force Wakanda to deal with being cut off from the world.

    This is a movie populated almost entirely by black faces, notably black women (more on that later), and they are given a mainstream platform that celebrates its multitudinous African roots and traditions thanks to co-writer/director Ryan Coogler (Creed). This movie is proudly black, which will rankle some on the fringes of society, as if celebrating one's own identity is somehow denigrating those who do not apply to that status. Black Panther is not an exclusionary movie because of its content and execution; this is a very accessible movie to a mass audience, even those who haven't been paying attention to every nitty-gritty detail in the previous seventeen MCU entries. There are only two characters from other MCU films that appear, one as a post-credits cameo and the other an officious representative (Martin Freeman) of the outside's clandestine organizations. This is a unique world isolated from the long shadow of colonialism. Wakanda has never known, to our knowledge, the depravity of the European and American slave trade. They have continued to develop uninterrupted by conquerors, slave traders, and the crippling aftereffects of racism. The Wakanda people could very easily be the conquerors themselves. They're the most technologically advanced nation on the planet and hide as a "third-world nation," utilizing the ignorance of the Western world to its security. The world of Wakanda is a fascinating, awe-inspiring, and defiantly independent nation.

    The larger theme is over the responsibilities inherent to those with privilege. The nation of Wakanda is vastly successful by all conventional metrics. T'Challa must wrestle with whether to continue their exclusionary stance, ignore the plight of the larger world and say it's none of their business or engage with the world, potentially putting his own kingdom's peace and prosperity at risk. It's a simple enough theme and yet it has tremendous weight to it especially when you account for those on the other end of the Wakanda borders. The character of Killmonger is a direct reflection of this. His experiences in Oakland are not the ideal pairing with the luxury of Wakanda. Killmonger sees Wakanda's great influence as a way to protect beleaguered black citizens of the world and especially in the United States. It's a way to prevent more senseless deaths from black citizens who were slain as a result of the fear of just being black (a powerful example was Coogler's debut film, Fruitvale Station). It's a pointed political statement that doesn't get too heavy-handed (even though I would have preferred that). It questions the value of isolationism especially when suffering can be prevented. Killmonger works as a villain because you can understand his point of view. He goes beyond the need for vengeance. The wrongs he wants to right are larger and historical. Even Killmonger's last line really attaches itself to this theme. T'Challa offers him a way out but with imprisonment. "No," Killmonger declines, "My people were the ones who leaped over the sides of the slave ships. They knew death was better than bondage." The emphasis is "his people," not T'Challa's, not Wakanda. His people were the ones who suffered from slavery. Could Wakanda have possibly prevented it?

    Another wonderful surprise of Black Panther is its incredible all-female ensemble that provides expert support to their king. T'Challa has the good fortune of four strong women, each of them having a different and vital relationship to him. The standout will be Danai Gurira (TV's Walking Dead) as the fierce chief of security, Okoye. She has a swagger that vacillates between being intimidating and being brashly enjoyable. Okoye has many of the best lines and she throws herself into every fight. There's also a sense of duty that transcends a single man that challenges her loyalty. Letitia Wright (TV's Humans) plays Shuri, the Q of this world, the top scientist and creator of many a gadget. She's T'Challa's little sister and their interplay is very competitive and teasing. She's looking to be more involved in the action and a highlight is when she teams up with her big bro. Lupita Nyong'o (The Jungle Book) is Nakia, a former flame of T'Challa's who comes in and out of his life as an undercover spy. All three of these women have a powerful sense of agency and are integrated in important and essential ways. Even though Nakia may slide into that romantic interest role, she still has a vibrant life outside whatever feelings she may or may not have for the hero. Then there's T'Challa's mother, Ramonda (Angela Bassett), who radiates strength and fortitude. These women gave me some of the biggest moments of entertainment in the entire 135 minutes of movie.

    Now some careful readers might note that I haven't done much to emphasize the actual action of the super hero action movie, and that's for a good reason. Black Panther stands stronger on theme and character than it does its actual action sequences. Coogler had a wonderful sense of scale and verisimilitude with 2015's Creed, relying on long takes to put the audience in the heightened drama of the boxing ring. With Black Panther, the action sequences can lose a sense of immediacy. Many happen at night or are filmed and edited in ways that diminish some of their impact, like hand-to-hand combat in splashing water where the splashes obscure the activity. Other scenes felt like a video game CGI cut-scene. Speaking of video games, Black Panther's suit has a crazy ability to absorb the kinetic energy of weapons, which means the stakes take a dip when our hero can merely just stand and allow himself to get shot repeatedly. The payoff for this absorption is a giant energy shockwave but it plays out like a fighting game's special feature. It's an aspect that's not really utilized in a satisfying or unique way. The final showdown between Black Panther and Killmonger feels too weightless in execution. It's meant to even the playing field by nullifying their extra abilities, but if they both have the same "Panther powers" isn't the field already even? The third act, the usual punching bag for MCU critics, is the best part of the movie from an action standpoint. It utilizes the characters in significant ways and allows for organic complications while still maintaining its wider sense of spectacle. Plus it's one of the few action sequences that allow all the pyrotechnics to be enjoyed during the visibility of day.

    Boseman (Marshall) was an excellent choice for a stoic and too-cool-for-school character that can glide right on by. The ageless Boseman is at his best when he's working off the other actors, especially his female posse. He has a couple of very effective emotional confrontations as he learns of his family's secrets. As steady and soothing a presence as Boseman can be, this is Jordan's movie. Michael B. Jordan (Creed) has been Coogler's cinematic good luck charm and we're still benefiting from that divine kinship. His character is at the heart of the central thematic question. While T'Challa is ultimately the one who has to decide, it is Killmonger who embodies that need for change and the desire to rectify the past. There's a flashback with Jordan that got me to tear up, and this guy was the villain! It's one of the film's biggest mistakes sidelining Jordan for far too long. After his introduction, Killmonger is strangely absent for the next hour or so of the movie, ceding the spotlight to Serkis (War for the Planet of the Apes), a more antic and goofy scenery-chewing baddie who has a few regrettably "faux hip" lines of dialogue that land awkwardly. Serkis is having a blast but can feel like a holdover from a different film.

    Much like last summer's Wonder Woman, this is a movie that is going to mean a lot to a lot of people. It has a personal significance that I will not be able to fully tap into, no matter the expansive powers of empathy. Black Panther, as a long-awaited cultural moment, will have many ripples of inspiration. After my early screening, I sat back and watched an African-American boy, no older than seven or eight, walk out of the theater in a daze. His eyes were wide, his mouth agape, and he said in astonishment, "That was the best movie ever." That kid has a hero he can call his own. That matters. Black Panther, as a work of art, is rich in topical themes and has a wide supporting net of exciting, robust, and capable women. I enjoyed how personal and relevant and political the movie could become, folding new and challenging ideas onto the MCU formula. Coogler is a marvelous director and storyteller showing rare acumen for being able to handle the rigors of a Hollywood blockbuster and deliver something hearty. The action has some issues and there are some structural hiccups that hold it from the MCU's upper echelon (I enjoyed all of the 2017 MCU movies better). Black Panther is a winning movie when it features its sterling cast celebrating their virtues and solidarity and a still respectable enough action spectacle when called upon for big screen duty.

    Nate's Grade: B
  • Black Panther (PG-13, 2018)

    t was about time we saw a Marvel superhero blockbuster starring mostly African-American actors and a... read morechieving the success and popularity that it did - and even better is how great it is, with a thrilling climax and relatable characters that compensate for a couple of flaws in the script.
  • Minions (PG, 2015)

    - by fb1442511448
    Even though this spinoff lacks the flare from its "Despicable Me" originators, Minions is still a la... read moreugh-out-loud good time. The film's outrageous humor, that's suitable for both children and adults alike to understand and enjoy, ultimately drives this animated delighted. 4/5
  • The Infidel (Unrated, 2010)

    The Infidel in a way is kind of like Four Lions. It's not as good as Four Lions but it's a good sati... read morerical film that pokes fun at not only the muslims but also at the people that dislike them. Decently made little film from Britain.
  • The Infidel (Unrated, 2010)

    A Muslim Who Just May Be Jewish!

    The movie revolves around the life a London cab driver M... read moreahmud Nasir, a decent, easy-going family man of very moderate Islamic views (he does not pray five times a day, nor fast every single day in the month of Ramadan and he occasionally has an alcoholic drink) who finds out that he was adopted and his biological parents are actually Jewish when his mother dies. Understandably upset by the threat this truth might bring to his normalcy, Mahmud hides the truth from his wife and from a son who's about to marry the step-daughter of a radical Pakistani cleric and for the lad's sake, Mahmud is prepared to pretend to be a devout Muslim. During this period Mahmud questions his identity and goes into a cathartic phase until logic prevails and he reaches a firm conclusion of who he is and what it means to be Mahmud Nasir.

    Omid Djalili does a great job and his portrayal of the man torn between two ideas is natural and funny, as he explores the Jewish life by enlisting the help of a rival cabbie driver and American Jew who tries to teach him the Jewish traditions, to pass himself off as a parodic Jew so he can get past a protective young Orthodox rabbi (Matt Lucas) and get to see his elderly ailing birth father in a Golders Green old people's home.

    The Infidel provides some very funny moments and the cultural and religious clashes are hilariously depicted. The film explores this with wry humour which makes it easy viewing, and we note the prevalent use of the internet as a means for modern Muslims to keep current and in-touch.

    This movie reveals that we have some cultural heritages that don't always get along, but we're all just people and we have to share this world for better or for worse.