What do you find scary? Is it the fictional, unimaginably horrifying things that could never happen? Or is it the things you can see being turned upside down? Welcome to the Blumhouse, where their world could be the scariest thing of all.
Born and raised In Mississippi. Enjoying life after graduating from XULA! Avid movie watcher. Honestly I miss the nostalgia of VCR’s, but for now I’ll settle for the “Da-Dun” every time I open Netflix.
Chloe Bailey of Chloe x Halle is hitting hard with her debut solo song “Have Mercy.” Teresa discusses whether Chlöe might be the next Queen Bee.
What if you could relive any memory? Teresa weighs in on if Lisa Joy’s Reminiscence is worth remembering, or just a faded memory she wishes to forget.
Almost five years after Suicide Squad was released, a soft reboot of the film was created. Teresa takes a dive into why the second film is a step above its predecessor.
Teresa Beamon swings by to talk about the highs and lows of the newest installment in the well-worn “assassin on the run” genre, Gunpowder Milkshake. Was it right on target? Or was it yet another misfire?
MMH’s resident R.L. Stine fan Teresa is here with a review of the newest adaptation of the acclaimed horror author’s works, Netflix’s Fear Street trilogy, a collection of films she describes as a perfect adult-geared evolution of the Goosebumps series that scared the pants out of all of us as kids!
Fatherhood is a lot like Kevin Hart at the beginning of the movie: trying to be a good single father and making a ton of mistakes. Teresa reflects on everything that doesn’t work about the film while appreciating it for Hart’s heartfelt performance and its depiction of the challenges and triumphs of single parenting.
Apocalyptic movies are on the rise, with many choosing to hinge their plot on an essential human capability being hindered. In the case of Netflix’s Awake, the world is no longer able to sleep–unfortunately for the film, it was a snoozefest.
This week, contributor Teresa Beamon makes it a point to enter MMH crossover territory: a ranking of her favorite basketball movies. Rather than getting a technical foul and comprising them all together, she thoughtfully decides to rank them based on genre.
“What do you see when you look at me?” That is the overarching question driving the 2018 film Monster (released wide via Netflix on May 7th of this year). Though we live in a society that tries to justify right and wrong, it often can be a grey area–at least that’s how it appears to be for Steve Harmon, a 17-year-old on trial for a robbery gone wrong, which he claims he did not take part in. Through its depictions of the criminal justice system and Harmon’s experience within it, Monster leaves us with yet another question: do we find Steve innocent or guilty?
Oscar-nominated short film Two Distant Strangers presents a major dilemma, as well as a recent ongoing pattern of entertainment creativity in recent years: black traumas as the epicenter. In this article, writer Teresa Beamon discusses the necessity (and lack thereof) of films and television works that have that center depictions of racial violence and oppression without consideration for the impact those depictions may have.
For over a century, Hollywood has spread the myth of a planes-bound, monochromatic brand of cowboy; But with his new film Concrete Cowboy, director Ricky Staub works to expand this definition to include the modern-day riders of color who call Philadelphia home.