If you’re having trouble relating to the jubilation surrounding this weekend’s release of “Black Panther” — the first major comic book movie starring a predominantly black cast — imagine for a moment that we weren’t living in an era in which every couple of months produced a superhero blockbuster starring a white guy named Chris.
The superhero adventure is an important movie that doesn’t feel like being forced to eat kale, thanks to car chases, shootouts and subtle bursts of humor.
The CD appears to be heading the way of Crystal Pepsi.
It’s becoming more and more difficult to figure out whether the producers of “Homeland” have some sort of oracle on their writing staff or are simply the beneficiaries of some remarkable coincidences.
Not only is “Fifty Shades Freed” expected to spank the competition at this weekend’s box office, it will tie up the loose ends on an era of moviemaking.
I’m not certain if “Fifty Shades Freed” is marginally better than its predecessors, or if I’ve just grown accustomed to the awfulness of these movies.
