As Tribeca 2026 continues, I found an unexpected bright spot in director Stacey Sargeant’s short film “Stand Clear ‘the Closing Doors”. Clocking in at just seven minutes, the film proves that a powerful story does not need a lengthy runtime to leave an impression.

The film follows a nameless Black woman, played by Sargeant herself, as she begins an ordinary day in New York City. After boarding a train, she politely asks a fellow passenger, portrayed by Grace Rex, to move her bag so she can take a seat. The request is met with a dismissive response, setting the stage for a thoughtful and often humorous examination of the subtle tensions many Black women encounter in everyday public spaces.

One of the film’s strongest elements is its use of imagination. As the encounter unfolds, the protagonist envisions standing up for herself in ways she may not in reality, including a particularly sharp sequence in which no one aboard the train falls victim to performative tears or misplaced sympathy. These moments provide some of the film’s biggest laughs while also underscoring its deeper message about empathy, accountability, and the importance of seeing people as they are.

Sargeant demonstrates remarkable confidence as both writer and director, balancing social commentary with humor and humanity. The film never feels heavy-handed or preachy. Instead, it invites viewers into a familiar situation and trusts them to draw their own conclusions.

Another standout moment comes through the silent exchanges between the protagonist and another woman of color. Without speaking a single word, the two communicate understanding, solidarity, and shared experience. It is a small detail, but one that resonates deeply and speaks volumes about the film’s authenticity.

While I was already familiar with Stacey Sargeant from her work in television, her performance here left me wanting to see more. She displays a natural screen presence and a strong directorial voice that suggests she is more than capable of tackling a feature-length project in the future.

Funny, insightful, and refreshingly honest, “Stand Clear ‘the Closing Doors” turns an everyday encounter into a meaningful reflection on empathy, respect, and human connection. In just seven minutes, Sargeant delivers a memorable short that lingers long after the train ride is over.

Final Grade: B+

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One of the greatest aspects of attending a festival like Tribeca is discovering documentaries from emerging voices. Director Branislav Jankic’s short film “White Belt” easily fits into this category, having premiered on Sunday, June 7th, at this year’s festival.

I have seen many documentaries about celebrities trying to reinvent themselves. Some are successful, while others feel like extended publicity pieces. “White Belt” falls firmly into the former category because it never asks the audience to be impressed by Monika “Jac” Jagaciak’s fame. Instead, it invites us to understand the woman behind that fame.

Most people know Monika as a world-renowned model who was discovered at age thirteen and became one of the most recognizable faces in fashion. She has graced major advertising campaigns, walked prestigious runways, and earned her place as a Victoria’s Secret Angel. However, her director and husband, Branislav Jankic, wisely recognizes that her modeling career is just part of her story.

The documentary follows Monika as she prepares for one of the world’s most prestigious Brazilian Jiu-Jitsu tournaments after just eight months of training under three-time World Champion Gregor Gracie. While this sounds impressive on paper, what surprised me was how quickly the film moves beyond the physical challenge to become a story about self-discovery.

Some of the documentary’s strongest moments have nothing to do with the mat. Through family photographs, archival footage, and reflections on her childhood in Poland, we see the experiences that shaped her long before she became a household name in the fashion industry. These glimpses into her early life add a welcome human element to the film, making her journey feel personal rather than promotional.

Branislav Jankic’s relationship with his wife proves to be an asset. As a married man myself, I wouldn’t want anyone else to tell my wife’s story. There is a level of trust and vulnerability here that might not have existed with another filmmaker. Monika speaks candidly about fame, motherhood, expectations, and the ongoing challenge of defining herself beyond the labels others have placed on her.

I often judge a film by whether or not I care about the people on screen. By the end of “White Belt,” I cared about Monika’s outcome, regardless of what happened at the tournament. The competition may provide the stakes, but the real victory lies in watching someone take ownership of her story and embrace a new chapter in her life.

At under thirty minutes, “White Belt” delivers an engaging and surprisingly heartfelt portrait of resilience, proving that sometimes the most difficult opponent we face is the version of ourselves we’re trying to leave behind.

Final Grade: B+

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One of the pleasant surprises emerging from Tribeca 2026 is “Kaya,” a heartfelt and engaging martial arts drama written, directed, and starring Isabel Lamers. While the film features impressive fight choreography and training sequences, its greatest strength lies in its exploration of identity, heritage, and the universal desire to belong.

Lamers plays Nia, a half-Filipina kickboxer who views membership on a prestigious Filipino Martial Arts team as an opportunity to connect with a part of herself that has always felt just out of reach. However, when the team’s owner, Angel (Kayley Carrigan), repeatedly denies her entry, Nia finds guidance from an unexpected source: Malic (EJ Lipana), a queer outsider who introduces her not only to the techniques of Filipino Martial Arts but also to the deeper values and traditions behind it.

What initially appears to be a sports drama gradually reveals itself to be something much more meaningful. Nia’s biggest obstacles are not the opponents she faces in the gym but the expectations placed upon her outside of it. Her mother, Maria (Gaye Angeles Piccio), encourages her to conform to social norms by appearing more feminine and, in some respects, more “white.” These moments give “Kaya” an emotional authenticity that resonates long after the action concludes.

As both director and lead actress, Lamers demonstrates a remarkable understanding of her character’s internal struggle. She never allows Nia to become a simple underdog archetype; instead, she presents a young woman caught between cultures, expectations, and competing versions of herself. The result is a protagonist that audiences can genuinely invest in.

The film’s martial arts sequences are dynamic and engaging, but the emotional journey remains the primary attraction. Lamers cleverly uses Filipino Martial Arts as both a physical discipline and a metaphor for self-discovery. By the time Nia reaches the film’s climactic confrontation, the real triumph lies not in whether she wins the fight but in whether she learns to embrace her true self.

While “Kaya” occasionally follows familiar sports-drama tropes, its sincerity, cultural specificity, and strong performances more than compensate for this. At a festival often filled with stories of transformation, few are as personal or inspiring as this one.

“Kaya” marks a confident debut for Isabel Lamers and is one of Tribeca 2026’s most uplifting films, reminding audiences that true belonging starts with self-acceptance.

Final Grade: B+

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Some short films deliver their message and leave before the emotional impact has fully settled. Ty Molbak’s *You Tryna Say You Love Me?* does just that, but in the best kind of frustrating way. It offers just enough to evoke emotion, spark curiosity, and leave viewers thinking, “Wait, where is the rest of this movie?”

Set during a late-night study break, the film follows a grief-stricken college athlete who unexpectedly lets his guard down with his philosophy class crush. What begins as casual conversation gradually shifts into something deeper, more vulnerable, and more honest. While the title may sound playful, the film explores the fear of articulating feelings, especially when grief has made the heart feel unsafe.

Asante Blackk has been on my radar since *When They See Us*, and he continues to demonstrate that he is one of the young actors to watch. His performance displays a quiet emotional intelligence; he avoids overplaying the pain or seeking easy sympathy. Instead, he allows silence, hesitation, and guarded charm to convey his character’s inner turmoil. You can see a young man striving to remain composed as something inside him clearly unravels.

Malia Pyles is equally impressive, showing a stark contrast to her role in the series *Cape Fear*. She brings warmth, wit, and a natural curiosity to her character, making the connection between the two feel authentic rather than forced. Their chemistry drives the film, and Molbak wisely trusts them to carry the emotional weight without resorting to melodrama.

Cinematographer Doug Potts deserves recognition for creating an engaging visual setup that feels intimate without being visually flat. The camera captures the space between the two characters, reflecting the glow of late-night campus life, the nervous energy of attraction, and the realization that their conversation has shifted from casual to significant.

At Tribeca, short films often serve as calling cards, and *You Tryna Say You Love Me?* is a strong one. Ty Molbak is undoubtedly a filmmaker to watch. This film is tender, insightful, and emotionally perceptive. My only complaint is simple: I wanted more. This short deserves the space to expand into a feature.

Final Grade: A

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Addiction dramas often walk a thin line. If they play it too soft, the damage can feel sanitized; if they go too hard, the individuals at the center can become mere cautionary tales rather than fully realized human beings. Daniel Blake Schwartz’s film “Cotton Fever” navigates this delicate balance with bruised yet empathetic confidence. Written and directed by Schwartz, the film does not observe addiction from a distance. Instead, it immerses itself in the experience, witnessing the lies pile up, while still allowing space for grace.

The film follows interconnected characters as they attempt to survive the same storm from different perspectives. James and Dina are recovering people with a substance use disorder who are expecting their first child, and for the first time, stability feels within reach. However, recovery is fragile, and James carries a secret that could shatter their foundation even before the baby arrives. This storyline provides *Cotton Fever* with its emotional core, recognizing that hope can be as frightening as reaching rock bottom.

Meanwhile, Sam and Manny are young lovers still trapped in active addiction, living off weekly settlement checks from an old lawsuit. When the money runs out, desperation takes over, and their choices rapidly shift from reckless to dangerous. The film emphasizes that addiction is not just a personal struggle; it is intertwined with poverty, trauma, broken systems, and the daily calculations of survival.

Kyle Gallner delivers a performance filled with haunting tension, affirming his status as one of today’s most reliable actors. At the same time, Sosie Bacon continues to showcase her impressive range and emotional depth. Chabely Ponce, Ronald Emile, Ari Mora, Colton Osorio, Melvin Douglas, and Sam Quartin all contribute to an ensemble that feels authentic, rather than crafted for awards consideration. Each actor seems to understand the task at hand: to portray real individuals rather than mere problems.

One of the film’s most compelling storylines belongs to Akil, a street outreach worker dedicated to keeping the addicted and unhoused alive long enough for another chance at recovery. His noble work carries personal pain, as he struggles to reach his own brother, Sean. This emotional ache gives *Cotton Fever* a greater depth.

Cinematographer Tom Acton Fitzgerald captures this world with a blend of grit and intimacy, steering clear of cheap exploitation while allowing the environments to feel alive. The setting in Chelsea, Massachusetts, lends Schwartz’s story a grounded, lived-in texture, making the drama feel observed rather than fabricated.

With *Cotton Fever,* Schwartz asserts himself as a filmmaker with something urgent to convey. This film is a tough, compassionate, and deeply human drama about survival, shame, and the fleeting moments where redemption can still emerge.

Final Grade: B+

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Netflix gives one of comedy’s GOATs his flowers in “AFI Life Achievement Award: A Tribute to Eddie Murphy”. Taped on Saturday, April 18, the special marks a historic milestone as Murphy joins Sidney Poitier, Morgan Freeman, and Denzel Washington as the fourth Black recipient of the prestigious honor.

As a child of the eighties, Eddie Murphy always represented the pinnacle of Black excellence to me. Though I have long been a cinephile, Eddie was the first Black actor I recall seeing on the big screen when I watched “Beverly Hills Cop” in 1984 in Killeen, Texas, while my parents were stationed at Fort Hood.

Over the last forty-two years, I’ve watched Murphy’s career flourish through both hits and misses. But I’ve always held firm that, sans “Best Defense”, Eddie’s first nine movies are all classics that still hold up today—which is why I easily give him a pass on his lesser movies from the late nineties, which I don’t even need to name.

The legendary Mel Brooks kicks off the special to introduce Murphy, leading into a who’s who of entertainment figures praising not only Eddie’s kindness but his profound talent. Out of respect for viewers, I won’t spoil the speeches, but they bring plenty of laughter and, in a few cases, genuine tears.

That said, having Eva Longoria speak on the legacy of the nineties classic “Boomerang” felt a bit off-target. The audience was filled with incredible Black creators, including Colman Domingo and Michael B. Jordan; hearing one of them praise the film’s cultural impact would have landed much better. Additionally, it felt like a missed opportunity not to have Jamie Foxx or Durand Bernar perform “Party All the Time.”

Nevertheless, AFI Life Achievement Award: A Tribute to Eddie Murphy is a wonderful watch that beautifully honors one of the best to do it.

Final Grade: A-

“AFI Life Achievement Award: A Tribute to Eddie Murphy” airs on Netflix this Sunday, May 31.

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The horror genre continues to impress in 2026 with emerging voices, including director and his latest film, , from . This psychological horror story follows Bear (Michael Johnston), a hopeless romantic perpetually stuck in the friend zone with the hauntingly gorgeous Nikki (Inde Navarrete).

The film opens with Bear having the kind of day that feels cosmically cruel: his cat has just died. Nevertheless, he pushes through and heads to work, where Nikki mentions she recently lost a necklace. Wanting to do something nice for her, Bear visits a mystic shop where a novelty item called the “One Wish Willow” catches his eye, claiming to grant one wish per person when broken.

Later that night, after hanging out with co-workers Ian (Cooper Tomlinson) and Sarah (Megan Lawless), Bear takes Nikki home. While she hints at mild feelings for him, Bear is too shy to admit how he truly feels. Realizing he blew his opportunity, Bear makes a wish for Nikki to love him more than anyone else. The two quickly become a loving couple, but Bear soon learns the horror behind the old saying, “Be careful what you wish for.”

Whether it’s the classic story or the episode “Loved to Death,” the idea of getting something without earning it—and the dangers of unrequited love—has always fascinated audiences. taps into both themes, making this one of those films audiences should know as little about as possible before walking into the theater.

Michael Johnston is an actor I wasn’t familiar with before this film, but he brings the right amount of romantic cynicism and emotional vulnerability to Bear. While some viewers may dismiss the character as a “simp,” I saw him more as someone emotionally inexperienced and desperate to be loved. Tomlinson and Lawless are also strong in their supporting roles. However, the real MVP of the film is Inde Navarrete.

After impressing me last year in “Trap House” , Navarrete fully emerges as an actress to watch with her performance here. She brings sex appeal, girl-next-door charm, and dangerously unhinged energy with a level of elegance and craft that becomes genuinely terrifying. In the past, characters like Alex Forrest from made men want to stay faithful, while Brandi Web from warned audiences about the dangers of saying “I love you” without meaning it. Nikki may make some men reconsider dating altogether.

With psychological tension, sharp direction from Curry Barker, and a breakout performance from Inde Navarrete, proves that the most terrifying horror stories are often rooted in desire, loneliness, and emotional obsession. Highly recommended.

Final Grade: A

“Obsession” is now playing in theaters.

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Aleshea Harris emerges as a director to watch with her debut film, “Is God Is,” produced by Orion Pictures, for which she also wrote the screenplay. This film is an adaptation of her award-winning play of the same name. The story follows fraternal twins Racine (Kara Young) and Anaia (Mallori Johnson), who had a troubled childhood. Their father (Sterling K. Brown) burned their mother, Ruby (Vivica A. Fox), when the girls were children, resulting in severe burns for both Ruby and Anaia. Spending most of their lives in and out of foster homes, the twins have forged a fragile bond.

In their early twenties, the girls receive a letter from their dying mother. When they visit her on her deathbed, she reveals her only wish: for them to find their father and make him feel remorse for his actions. During their quest, Racine and Anaia confront their complicated family history, encounter eccentric characters connected to their father, and are pushed to their limits.

I wasn’t familiar with the source material before watching the trailer, but the intriguing premise immediately piqued my interest. I expected to see elements reminiscent of a ’70s grindhouse revenge film, woven together with a fictionalized exploration of the lives of the “silent twins.”

Kara Young and Mallori Johnson deliver exceptional performances that not only showcase their individual talents but also highlight the intricate dynamics of twin behavior. Their nuanced performances capture the emotional depth and psychological complexities of their unique bond, making it a compelling viewing experience.

The supporting cast boasts impressive performances from Janelle Monáe, Erika Alexander, Mykelti Williamson, and Josiah Cross. Each actor skillfully enriches the narrative of the young protagonists, bringing their unique characters to life and creating unforgettable moments that resonate with the audience. Among this talented ensemble, Sterling K. Brown stands out as the standout performer, captivating viewers with his powerful, nuanced portrayal.

Although Brown has played against type in genre films like “The Predator” and “Hotel Artemis,” his performance here showcases his range. He transforms the character known only as “Man” from merely menacing to truly terrifying. The cinematography also deserves recognition for its portrayal of Brown’s character. Additionally, the haunting score incorporates gothic elements that enhance the film’s atmosphere.

One of my highlights at Sundance this year was meeting Erika Alexander, who co-stars in the film. She mentioned that it was one of the best projects she has ever worked on, and after seeing the film, I wholeheartedly agree. For her directorial debut, Harris has crafted an unapologetically Black film that will be discussed for years to come.

Final Grade: A

“Is God Is” opens in theaters today.

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After making a welcome return in Season 1 of Marvel Television’s “Daredevil: Born Again”, Marvel’s most well-known antihero, Frank Castle aka The Punisher, gets his own special presentation in “The Punisher: One Last Kill”. Reinaldo Marcus Green directs from a script he co-wrote with Jon Bernthal.

The special picks up with Frank as a broken man still struggling with his mental health while wrestling with the best way to find meaning in all of the violence. Frank generally keeps to himself, but one day his past catches up with him, forcing him to once again utilize his particular set of skills to unleash his own brand of justice.

Similar to the way Ryan Reynolds found a kindred spirit with Deadpool, Bernthal feels completely at home portraying “The One-Man Army.” While he makes the action sequences feel raw and organic, it’s the quieter dramatic moments where Bernthal truly shines. As a veteran with mild PTSD, I’ve always been able to connect with the grounded realism he brings to Frank Castle.

There are also some strong supporting performances from recognizable names including Andre Royo and Judith Light. I won’t spoil who they play in Frank’s arc, but their presence never distracts from the overall story because this is clearly Bernthal’s showcase. Fans will also be pleased to know the Disney+ presentation does not tone down the brutality. One particular moment during the closing scenes actually earned applause and a smile from me. Like another reviewer mentioned, my biggest gripe is that it’s only one episode.

With just enough action to satisfy longtime fans while continuing to humanize its lead character and remain socially conscious about the effects of PTSD, The Punisher: One Last Kill understands the assignment.

Final Grade: A-

A Marvel Television Special Presentation, “The Punisher: One Last Kill” debuts on Disney+ tonight.

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Fresh off their highly successful “Way Tour”,  New Edition has blessed fans with a new single, “I’m Feelin’ You” featuring the late great Fatman Scoop. Initially released in 2024 as part of the promotion for the group’s XM channel and a rumored single from Michael Bivins’ still-unreleased compilation, the song has the vibe of a concert opener.

Bivins produces the song, which opens with some hype from FatMan Scoop. Ralph Tresvant comes in with his signature tenor on the first verse, followed by a rap from Ronnie Devoe, which transitions into a smooth vocal three-piece from Ricky Bell, Bobby Brown, and Johnny Gill. All three men sound good on the song, and thankfully, there’s no autotune.

Michael Bivins also gets a chance to drop a Hot 16 and gives off that organic “Sporty Rich” swag that fans have come to love. Bell handles the closing bridge, while Brown ad-libs as the song closes out with some more hype from Scoop.  On first listen two years ago, the song was a bop, and I thought for sure it would drop before the new tour, as I can only imagine the cold choreography their longtime mentor, Brooke Payne, had in mind for it.

Instead, NE went the collabo route with another bop, “We Goin Out Tonight,” featuring their New Edition tourmates Boyz II Men and Toni Braxton.  That said, both songs show that New Edition can release music in the streaming age without compromising their artistic integrity. 

Now, I will admit I would have loved to hear the group give us something that utilized the writing talents of DMile or Jimmy Jam & Terry Lewis, but anything fresh, New Edition is always a welcome addition to the playlist.

Final Grade: B+

“I’m Feeling You” is available on all streaming platforms.

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R&B isn’t on life support—it’s just grown up.

That point keeps getting proven in 2026, and this past Friday added another reminder when (Terrius Nash) dropped his new single, “Bring That Body.” It marks his first major-label solo release in nearly a decade, arriving ahead of his upcoming album Love/Hate2—a sequel to the project that helped define his sound back in 2007.

If you’ve been paying attention, Nash has always played the long game. Before stepping into the spotlight, he built his résumé behind the scenes, penning hits for artists like , , and . Like , he mastered the art of songwriting first—then leveraged that into a solo career that carved out its own lane.

“Bring That Body” doesn’t try to reinvent anything—and that’s exactly the point.

Instead, Nash leans into his signature formula: slick production, confident talk, and that unmistakable “I can take your girl” energy. The track lives squarely in his comfort zone, with flirtation dialed all the way up and just enough edge to keep it from feeling safe. It’s not about vocal gymnastics—this isn’t begging on the bridge—it’s about vibe, attitude, and delivery.

And that’s where The-Dream still wins.

His ad-libs remain a calling card, floating in and out of the track like punctuation marks that longtime fans will instantly recognize. It’s those little touches that remind you why his sound became so influential in the first place.

At this stage in his career, Nash isn’t chasing trends—he’s refining what already works. “Bring That Body” feels less like a comeback and more like a reminder: the Radio Killa blueprint still holds weight.

If this single is setting the tone for Love/Hate2, fans should expect a project that stays true to form while leaning into grown, confident R&B.

Final Grade: B

“Bring That Body” is available on all streaming platforms.

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As Chris Brown gears up for “The Raymond & Brown Tour,” the focus shifts to his upcoming album, titled “Brown”. With twenty-seven tracks, that’s quite a statement. At this point in his career, such a lengthy album feels less like a creative vision and more like a gamble, especially since we’ve seen this before—plenty of music but not always a clear direction.

The early singles—“Holy Blindfold,” “It Depends,” and “Obvious”—do little to change that narrative. They’re smooth, catchy, and will fit nicely into playlists, but they also feel like Chris Brown on autopilot. There’s a lack of risk and urgency; it’s just good vibes. We’ve heard this version of him before.

That’s what makes “Fallin’” stand out. Reuniting with his frequent collaborator Tank on background vocals, Brown taps into something more grounded. The production slows down, allowing the track to breathe—there’s no overkill and no frantic chasing of trends. For once, he isn’t trying to outrun the beat; he’s sitting comfortably within it. Vocally, there’s a sense of restraint, and it works—less flash, more feeling.

While Leon Thomas doesn’t just make an appearance, he adds depth. His verse adds texture to the track, while his background vocals subtly enhance the song without drawing too much attention. The chemistry between them feels natural, not forced.

That’s where the frustration comes in. “Fallin’” sounds like an artist who understands his capabilities but hasn’t fully committed to tapping into that potential. It has the same focused, intentional energy that made tracks like “Residuals” resonate: refined, not bloated or scattered.

However, with the new album having 27 tracks, there’s ample opportunity for that focus to get lost. Chris Brown has already demonstrated he can produce quantity; the real question is whether he can edit himself and create something that feels complete rather than just full.

“Fallin’” raises the bar and shows the blueprint. Now, it’s up to Brown to follow through. The conversation about a magnum opus isn’t far-fetched anymore; it’s a choice he needs to make.

Final Grade: B+

“Fallin” is available on all streaming platforms.

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The Tar Heel State was all vibes and elite showmanship on April 29, as Bruno Mars brought The Romantic Tour to Charlotte’s Bank of America Stadium. And honestly? Even traveling from the DMV, the trip felt worth it—the energy, the crowd, the entire experience hit on a different level.

Before Bruno ever touched the stage, the night was already moving. DJ Pee Wee—better known as Anderson .Paak—set things off with a high-energy set that bounced from ABBA to Whitney Houston to Cali Swag District without missing a beat. The man moved like a b-boy half his age, clearly having just as much fun as the crowd. Leon Thomas followed with a smooth, vocally sharp set. I’ve been tapped in since August Rush, so seeing him on a stage this massive was a full-circle moment. While his vibe leaned more intimate than stadium-ready, closing with “Mutt” gave him a strong exit.

Then came the moment the building had been waiting for.

Bruno made his entrance with a cinematic church-themed intro before hitting the stage to thunderous applause. He opened with newer material—“Risk It All,” “Cha Cha Cha,” and “On My Soul”—and while not everyone was fully locked into the new album yet, his vocals and precision choreography never missed. Still, once he pivoted into “24K Magic” and “Treasure,” the entire stadium snapped into sync.

From there, it became a celebration. A standout moment came with “Why You Wanna Fight,” which transitioned into a soulful medley paying homage to legends like The Chi-Lites, Harold Melvin & The Blue Notes, The Stylistics, and Zapp. It wasn’t just nostalgia—it was reverence.

When Anderson .Paak returned for a Silk Sonic segment, the show hit another gear. The chemistry, the vocals, the swagger—it all clicked, closing with a silky-smooth “Leave the Door Open” that felt like a love letter to classic R&B.

Bruno closed things out at the piano, reminding everyone of his range with ballads like “When I Was Your Man” and “Talking to the Moon,” before shifting back into hitmaker mode with “Locked Out of Heaven” and “Uptown Funk.”

Bruno Mars doesn’t just perform—he curates an experience. After seeing him live for the second time, it’s clear: he’s not just one of the best out right now—he’s operating in a lane most artists can’t even touch.

Final Grade: A

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After years of anticipation, the King of Pop’s biopic, “Michael”, dances into theaters from Lionsgate. Antoine Fuqua directs from a script by John Logan, opening with an instrumental of a classic Michael Jackson track. We don’t see him yet, but the camera puts us right there as he prepares to take the stage.

From there, we flash back to winter 1966 in Gary, Indiana. Eight-year-old Michael (Juliano Valdi) rehearses with his brothers under the strict eye of Joe Jackson (Colman Domingo) and the warmth of Katherine Jackson (Nia Long). We see the talent shows, the grind, and eventually the moment Suzanne DePasse (Laura Harrier) connects them with Berry Gordy (Larenz Tate).

As the movie moves along, Jafar Jackson steps in as an older Michael, and that’s where the film really locks in. Now 18, he’s chasing something bigger—linking up with Quincy Jones (Kendrick Sampson), bringing in a new manager, John Branca (Miles Teller), and changing how we look at music videos. Joe, of course, isn’t trying to hear any of that.

It’s no secret the film had issues in post production, including a reworked third act, and some of that shows. If you’re coming in expecting a full Jackson family deep dive, adjust your expectations. This leans more into who Michael was as a person than the full group dynamic.

That said, the casting hits. Juliano Valdi brings a natural innocence to young Michael without overplaying it. When Jafar takes over, it’s borderline uncanny. There were moments during my screening where I leaned over and said, “This feels like we’re watching Michael reincarnated.”

Colman Domingo does strong work as Joe. He doesn’t play him as a cartoon villain—it’s more that old-school, no-nonsense parenting that demanded perfection. I didn’t like the man, but that’s the point. Nia Long balances that with a calm, steady presence as Katherine.

One of the more surprising touches is the focus on Michael’s relationship with his longtime bodyguard Bill Bray. Those moments land and reminded me of my own relationships with my own mentors It’s not flashy, but it adds something real to the story.

Now the big question is how are the musical performances ? Simply put they deliver! I saw it in IMAX, and a few of those sequences had the theater shaking. The hits are there, but there are also a couple of deeper cuts that fans will catch Michael does have its share of issue as any biopic does.

The pacing moves fast, and if you know Michael’s story, you’ll spot timeline issues. There’s a moment involving a ballad that might raise an eyebrow. Now conceptually it works for the moment its take place, but they could have chosen another song and still had the same impact.

Also, some names that were on the IMDB cast list and press releases—like Sheryl Crow, Diana Ross, and Dick Clark—don’t show up. Finally like “The Jacksons: An American Dream”, the film skips over the Gamble & Huff era, which I’ve always felt was key to his vocal growth. I would’ve loved to see some of those moments recreated.

At its core, “Michael” is a safe, commercial nostalgia trip and when we look at the state of the world sometimes that’s what we need. The performances, especially Jafar’s, make it worth the ride and I can’t wait to see it again.

Final Grade : B+

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When I started Reviews & Dunn, I made a promise to spotlight local voices — the people doing meaningful work in our communities who deserve to be seen and heard.

This week, I’m proud to feature someone who is not only a former co-worker, but truly a sister from another mother — Jazmyne McFail.

A veteran, entrepreneur, and someone who never fails to laugh at my dad jokes (and that says a lot), Jazmyne is now adding “author” to her résumé. She recently released her first children’s book, My Mommy and Me: All the Family I Need (The Jayah Series), co-authored with her daughter, Jayah — a heartfelt project rooted in love, identity, and family.

We caught up to talk about the journey behind the book, entrepreneurship, and what this moment means to her.

Reviews & Dunn (R&D): When did you first decide to write a children’s book with your daughter?

Jazmyne McFail (JMM):
Honestly, it came from our everyday life. It’s always been just me and my daughter, and I wanted her to feel proud of that—not like she was missing anything. At one point, I realized there weren’t enough stories that reflected families like ours in a positive, loving way.

That’s when it clicked. I didn’t just want to write a book—I wanted to create something she could see herself in. Including her in the process made it even more special, because this is our story.

R&D: How many drafts did it take before you felt you had it right?

JMM:
More than I expected—and I’m a perfectionist, so I kept going back and refining it. Between rewriting, adjusting the flow, and making sure the message was clear and age-appropriate, it took several drafts.

Even after publishing, I went back and redid the book, which led to a second edition. I wanted it to truly reflect my vision and meet my standard. That process taught me that sometimes “done” doesn’t mean finished—growth and improvement are part of the journey.

R&D: JMM Ink Publishing is your second company after your logistics business. In an age shaped by AI, what advice would you give to young women of color looking to start their own businesses?

JMM:
Don’t wait until you feel ready—start anyway. We tend to overthink and second-guess ourselves, feeling like everything has to be perfect before we begin. It doesn’t. Start with what you have and build as you go.

Also, don’t let AI intimidate you—use it as a tool, not a crutch. Your voice, your perspective, and your lived experiences are what make your business valuable. AI can’t replace authenticity.

And most importantly, stay consistent. A lot of people quit too early. If you keep showing up, you’re already ahead.

R&D: You’re one of the biggest J. Cole fans I know—did any of his music influence you while writing this book?

JMM:
Absolutely. J. Cole is all about storytelling, authenticity, and speaking from real life—and that’s exactly how I approached this book.

Even though it’s a children’s book, the foundation is still truth and emotion. His music reminds me to stay grounded, be honest, and create from a real place, and that definitely influenced how I wrote.

R&D: What’s the one thing you hope mothers and children take away from My Mommy and Me?

JMM:
That love defines a family—not structure.

I want children, especially those in single-parent homes, to feel seen, secure, and proud of their family. And for mothers, I want them to feel reassured that what they’re doing is enough. You don’t have to fit a traditional mold to give your child a full, loving life.

R&D: Is there anything else you’d like to share—and where can readers connect with you?

JMM:
This is only the beginning. The Jayah Series is growing, and I’m excited to continue creating stories that reflect real families and real love.

You can follow my journey as an author and entrepreneur on social media:

• Instagram/Threads: @jazvababyred

• Facebook: Jazmyne McFail

• TikTok: @jazred

And of course, My Mommy and Me: All the Family I Need is available now on Amazon. (Purchase Here

Also, be on the lookout for the next book: Jayah’s and the Five Generations of Love.

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Photo Courtsey of Venue

If you came up on late ’90s and early 2000s R&B, last night in D.C. felt like a family reunion. The R&B Experience Tour rolled into Capital One Arena with a lineup that looked crazy on paper: Tank, SWV, Ginuwine, Tamar Braxton, Silk, Lloyd, and H-Town. I’ve seen all of them before, but a bill like this? You show up.

H-Town got things started with “Part Time Lover” and “Emotions,” dedicating the latter to Dino. That should’ve been a moment… but it just didn’t hit. The crowd felt slow, like folks were still settling in. Even “Knockin’ Da Boots” couldn’t fully wake the room. They closed with “They Like It Slow,” and while the visuals were a nice touch, the set needed more punch—maybe a live band or DJ to give it some life.

Lloyd was the first one to really flip the energy. Fit questionable—my guy looked fresh out—but vocally? Locked in. “You,” “Get It Shawty,” “Lay It Down”… he had the crowd rocking. Honestly, he got shortchanged on time. He had more left to give.

Ginuwine, in his hometown, deserved better than a quick run-through. “So Anxious” and “Pony” still land, but the set felt rushed, like an awards show appearance instead of a full performance. Silk ran into a similar issue. Lil G’s absence was noticeable, but Jon Jon stepped up, especially on “Meeting in My Bedroom” and “Freak Me.”

Tamar Braxton kept it clean and professional with “The One” and “Love and War,” but again, in and out. By the time SWV hit—after another delay—they were racing the clock. “Weak,” “Right Here,” “I’m So Into You”… all there, just not enough space to breathe.

Tank closed like a headliner. From “Maybe I Deserve” to “When We” and “Sex Music,” he gave the set personality with storytelling and real crowd connection. “Please Don’t Go” was the right way to end it.

Good vibes all night, but too many artists, not enough room. This should’ve been two nights.

Final Grade: B

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Director Nate Parker reunites with his Red Tails co-star and Mansa Co-founder David Oyelowo for his third feature, “Newborn”, from , a film he also pens himself.

Opening in the early 2010s, the story introduces contractor Chris Newborn (Oyelowo) and his fiancée Olivia (Tara Benton). Just before an intimate moment, a frantic knock at the door changes everything. Chris’s younger brother Keith (Jimmie Fails), a junkie, shows up bloodied and shaken, revealing he’s been in a car accident—one involving a vehicle registered in Chris’s name.

Trying to do right by his brother, Chris makes a life-altering decision: he switches clothes with Keith and takes the fall. That choice leads to nearly seven years behind bars. While incarcerated, Chris’s instinct to protect others resurfaces when he intervenes in the abuse of another inmate—an act that earns him extended time in solitary confinement. By the time he’s released, the world feels unfamiliar, distant, and isolating. More than anything, Chris wants to reconnect with his young son, Jake (Aiden Stoxx). Hoping to reset, Olivia suggests a family getaway to the mountains. But once there, it becomes clear that peace of mind isn’t so easily found.

Parker has had one of the more fascinating career arcs in Hollywood. Nearly two decades ago, he was positioned as a rising star following “The Great Debaters”. Rather than chase the easy lane, he shifted focus behind the camera, eventually delivering “The Birth of a Nation” in 2016. With “Newborn”, Parker swings for something more layered—blending character study with psychological tension.

There’s an early prison sequence that quietly sets the tone, driven almost entirely by Oyelowo’s eyes. It’s a haunting moment that speaks volumes about the emotional toll of incarceration without overplaying its hand. From there, the film gradually unfolds along two distinct paths. One explores mental health—the lingering trauma of imprisonment and how it affects not just the individual, but the family waiting on the outside. The other leans into thriller territory, with shades of once the family reaches their secluded destination. The question lingers: is Chris unraveling, or is something—or someone—actually closing in?

Oyelowo carries the film with a steady, grounded performance that anchors even its more uneven moments. Jimmie Fails also makes the most of his limited screen time. Ever since his breakout in “The Last Black Man in San Francisco”, he’s felt like an actor on the verge, and this role continues to push that momentum forward.

The tonal shift may not land for everyone, but I didn’t mind Parker taking the risk. It’s not a perfect film, but it’s an ambitious one—and sometimes that counts for more.

Final Grade: B

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Cal Mitchell as The Lion, Phoenix Assata LaFreniere as Dorothy, D. Jerome as The Tinman and Elijah Ahmad Lewis as The Scarecrow in the North American Tour of THE WIZ. Photo by Jeremy Daniel.

As fans eagerly await the King of Pop’s biopic set to release later this year, the beloved stage musical “The Wiz,” in which Mike Jack had a featured role in the 1978 film version, has kicked off a limited run at Washington, D.C.’s historic National Theatre. Right from the start, it felt like more than just another stop on a tour. Whether your introduction to the story was through the original Broadway production led by Stephanie Mills, the iconic 1978 film, or the 2015 live television event, “The Wiz” is more than just a show—it’s a cultural cornerstone.

I missed its previous run in D.C., and I wasn’t about to make that mistake again. As my wife and I approached the theater, we noticed a long line stretching down the block, buzzing with anticipation. Ushers moved in and out of the crowd, reassuring people that doors would open shortly while they worked to get everything organized.

But what truly stood out to me wasn’t the wait—it was the crowd. Seeing young kids dressed to the nines, wide-eyed and excited for what was likely their first Broadway experience, instantly brought a smile to my face. From the outset, the production makes it clear that this isn’t just a tired retread—it’s a reintroduction.

With an updated script by Amber Ruffin, the dialogue feels modern, sharp, and just edgy enough to keep the audience engaged. While it remains rooted in Frank L. Baum’s timeless story, it is now filtered through a distinctly Black cultural lens, powered by Charlie Smalls’ funky, soul-stirring score.

Phoenix Assata LaFreniere anchors the journey as Dorothy with a grounded, emotionally present performance that keeps the story centered. Elijah Ahmad’s Scarecrow is quick-witted and agile, D. Jerome gives the Tinman both charm and heart, and Cal Mitchell’s Lion delivers laughs with just the right touch of vulnerability. Together, they don’t just travel the Yellow Brick Road—they build a bond that feels authentic.

Then there’s Alan Mingo Jr. as The Wiz, who commands attention with a blend of showmanship and theatrical flair. He portrays both the illusion and the man behind it with equal confidence, giving the character both mystique and personality. Kyla Jade’s Evillene is a powerhouse, both vocally and physically, while the witches each leave a lasting impression. Still, Amitria Fanae’s Addaperle nearly steals the show, delivering comedic timing so sharp that it feels effortless.

However, the ensemble might be the true MVP. Under JaQuel Knight’s choreography, this cast moves with purpose and precision, blending classic technique with modern Black expression, keeping the energy alive from start to finish.

If there’s a slight misstep, it lies in the scenic design, which occasionally feels less inspired than the performances surrounding it. Still, what “The Wiz” delivers—especially in a city like D.C.—is undeniable: joy, representation, and a reminder that there truly is no place like home.

Final Grade: A -

THE WIZ will play The National through April 12 only. A full performance schedule can be found here.

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Director Tamera Hill delivers an impressive faith-based film for her 11th feature, “The Secret Between Us,” from Hidden Gem Entertainment.  Hill also pens the film’s screenplay. Taking place in Atlanta, the film introduces us to Jack Frazier (Michael Jai White), who appears to have it all—a stable career, a loving wife, Wanda (Lisa Arrindell), and a devoted daughter, Dominique (Dominique Wilson).

But his carefully constructed life unravels when a stranger arrives, exposing a secret he’s kept hidden for years. During a rough period in his marriage, Jack fathered a son, Torrance (Tre Ryan), who has grown up carrying the weight of abandonment. As their worlds collide, both men are forced to confront the past, while Jack’s family grapples with betrayal and fractured trust.

When it comes to the way I critique cinema, there are two sub-genres that I never expect award-worthy performances from or that I don’t rate as hard, and those are faith-based films and films aimed at melanin audiences.  “The Secret Between Us” falls into both categories; however, the angle Tamera Hill uses to deliver the narrative works in its favor.

While Michael Jai White is primarily known for his action roles, he has dipped his toe into the drama genre. In the role of Jack, White has moments when he needs to show vulnerability, yet he never loses his alpha-male persona as the head of his home. One particular scene in which White has to explain his behavior is one of the best monologues of his career.

Lisa Arrindel is someone I’ve always been a fan of, and she brings gravitas to a role that requires her to forgive but not forget. Arrinderl humanizes Wanda in an organic fashion, and the film avoids cliched moments involving “grits” or having her burn up her husband’s personal belongings. Another director may have used that moment for the sake of a cheap laugh.

However, the character I related to the most was Torrance. While I had plenty of male role models growing up, there was no real relationship with my life giver, and we didn’t make amends before he passed. Ryan puts his all into Torrance, and we truly feel his plight as he searches for answers.  The director wisely chooses to give his character a secondary storyline in which he pursues a budding romance with Jalisa (Destinee Monét). The two have a natural chemistry, and it works.

As much as I enjoyed the film, there are a few minor editing issues, but nothing that would affect my overall grade. Besides, anytime  I can see Victoria Rowell on screen and hear Stokely sing, I can’t help but smile. With solid acting from its cast and a great message, “The Secret Between Us” is worth checking out for fans of the genre and the cast.

Final Grade: B

“The Secret Between Us” is showing exclusively at AMC THEATERS NOW.

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Vince Vaughn and James Marsden have established careers based on unpredictability, though they have taken very different paths to get there. Vaughn’s role in “Brawl in Cell Block 99” hinted at a late-career shift toward tougher, more grounded material, while Marsden has comfortably navigated various genres with ease. Their collaboration in “Mike & Nick & Nick & Alice” suggests a promising combination of their instincts, even if the result doesn’t fully capitalize on this potential.

Directed by BenDavid Grabinski, the film heavily mixes crime, comedy, and science fiction. Gangsters, strained relationships, rapid-fire dialogue, and time travel all contribute to a narrative that aims for both energy and emotional weight. At times, this combination works; more often, it feels overstretched.

The story begins with Symon (Ben Schwartz), a tech-minded outlier whose experiment—introduced with a Billy Joel song—quickly spirals into chaos. From there, the film transitions into a crime-world setup led by Sosa (Keith David), whose operation serves as the backdrop for a complex personal conflict.

At the center are Marsden’s character, Mike, a hitman looking for a way out, and Vaughn’s character, Nick, a loyal enforcer caught between duty and dissatisfaction. Their dynamic is complicated by Alice (Eiza González), who is married to Nick but involved with Mike. While the tension between them is familiar, it becomes more intense once the film introduces its central device: a hit that loops back to target Mike himself, or at least a version of him.

The time-travel element broadens the story’s scope, introducing a future version of Nick determined to prevent a fatal outcome already set in motion. In theory, this is a compelling framework that allows the film to explore themes of regret, consequence, and the possibility of change. In practice, the execution is uneven. The narrative remains mostly coherent, but it often struggles under the weight of its own ambition.

There are moments when the film finds clearer emotional grounding. For instance, a sequence underscored by an Oasis song briefly cuts through the chaos, allowing the characters to feel like more than mere pieces in a puzzle. It is in these stretches that the film hints at a stronger, more focused version of itself.

However, it often defaults to excess. The dialogue can feel overly cluttered, the action repetitive, and the soundtrack intrusive instead of complementary. By the final act, the film begins to lose its balance, relying more on style than substance.

Still, Vaughn and Marsden remain engaged, delivering performances that help stabilize the material, even when the script falters. Their presence lends the film a degree of credibility that it might not otherwise achieve.

“Mike & Nick & Nick & Alice” is ambitious, occasionally sharp, and intermittently entertaining. It gestures toward something more meaningful but never quite maintains the discipline to get there.

Final Grade: C

“Mike & Nick & Nick & Alice” is streaming on Hulu now.

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