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Category: Reviews

  • SUPERMAN

    By Chelangat Caren,

     

    For a decade, Superman has been stuck in the awkward space between “godlike” and “unrelatable.” The 2025 reboot finally drags him out of that trap by asking a simple question: what if the most powerful person on Earth was also the kindest? Directed by James Gunn, this new Superman does not waste time brooding in the dark or blowing up cities for spectacle. It drops us into a world where heroes already exist, where the internet argues about them like they are  in a group chat, and where Clark Kent is trying to figure out how to do good without losing himself. The result is a film that feels like a deep breath after years of holding your breath in the theater.

     

    The movie’s biggest win is its tone. This Superman is earnest without being naïve, hopeful without being corny. David Corenswet plays Clark with a quiet sincerity that makes you believe he’d actually stop to help a cat out of a tree between saving the planet. Rachel Brosnahan’s Lois Lane is sharp, fast-talking, and not just there to be rescued—she challenges Clark in ways that make their relationship feel like a partnership, not a plot device. And Nicholas Hoult’s Lex Luthor is chilling precisely because he is not a cartoon villain. He is a billionaire who genuinely believes humanity does not deserve saving, and he is smart enough to make you almost agree with him for two minutes.

     

    What sets this film apart is how much it cares about small moments. Yes, there are massive set pieces: Metropolis gets leveled, kaiju-sized threats appear, and the sky lights up with color. But the scenes that stick with you are quieter—Clark talking to his dog Krypto, who is gloriously messy and loyal; Lois and Clark debating journalistic ethics over late-night coffee; Pa Kent’s simple advice about choosing kindness even when it costs you. Gunn understands that Superman works best when you believe he cares about people individually, not just as statistics. The action is clean, fast, and easy to follow, avoiding the shaky-cam, gray-filter fatigue of earlier DC films. The color palette is bright, the score by John Murphy and David Fleming leans into classic heroism without feeling like a nostalgia grab.

     

    It is not perfect. The plot juggles a lot—multiple villains, political subtext, a packed supporting cast—and sometimes it feels like it is  sprinting to fit everything in. Some side characters could have used more breathing room, and the third act leans a bit heavy on CGI spectacle. But the film never loses its emotional core. At its best, it reminds you why Superman mattered in the first place: he is not inspiring because he is invincible, but because he chooses to care in a world that often does not.

     

    Superman 2025 works because it refuses to be cynical. In a year of sequels and reboots that play it safe or lean into grimdark, this film argues that sincerity is still a superpower. It is messy, hopeful, a little goofy, and deeply human—just like Clark Kent. You walk out not just entertained, but reminded that choosing to be good, even when it is  inconvenient, still matters. Years from now, we might forget the exact plot beats, but we will remember the feeling: sitting in a dark theater and believing, for two hours, that someone out there still believes in us. And honestly, that is  the kind of blockbuster we needed.

  • WAPOA SZN 2: The Sequel

    By Teddy Otieno,

    With a rollout that began with the release of the lead singles “Me & U,” “Talk to Me Nice,” and “Name,” coupled with a string of social media teasers, anticipation for WAPOA SZN 2 was palpable. Big Yasa made it clear early on: a third album was in the works, and this second instalment mattered.

    I received WAPOA SZN 2 on a Thursday, exactly one week before its official release on July 30. The first file was faulty, prompting Philip Koth to resend the album, this time split into twelve separate attachments. An unceremonious delivery, perhaps, but fitting for a project that reveals itself gradually.

    I have lived with this album for months. I’ve listened to it early in the morning and late at night, in a matatu on my way home, with friends, as background music, on my home theatre, just on repeat. This album has been a companion. It is for and about women, and I’ve allowed it to soundtrack my own shifting emotions toward different women in my life. It feels like a diary of moods, snapshots of intimacy, longing, bravado, reflection, and love.

    The Sequel Effect

    Album sequels are a double-edged sword. They give an artist the opportunity to deepen a concept or extend a narrative, but they also carry the weight of living up to a prequel that listeners already hold dear.

    WAPOA SZN, released in 2024, marked a significant departure for Yasa, from raw drill into a calmer, emotionally vulnerable persona. It was as if he had revealed an alter ego. Love, relationships, and emotional introspection replaced bravado.

    That softness was briefly interrupted by the release of the Mad Clan Tape in October 2024, a collaborative project by the Kibera-based Mad Clan rap unit. Here, Yasa returned to drill, flanked by Spinx Mafia, Ngovo Das, Sumbua, Madiko, and Obeezy. The tape delivered sixteen aggressive, high-energy rap tracks. Iyanah Kiragu was the sole featured vocalist, adding moments of femininity and acoustic texture.

    Released seventeen months after its predecessor, WAPOA SZN 2 cements Yasa’s sonic pivot. He doubles down on emotion, vulnerability, and melody. If the first album was an introduction, the sequel is a refinement.

    Sound and Bars

    Produced entirely by Hatikvah Murage, WAPOA SZN 2 clocks in at just under thirty minutes across twelve tracks. I’m no expert in music production, so I won’t pretend to dissect the technical details. Hatikvah himself has shared breakdowns on Instagram for those interested.

    What stands out is the intentional minimalism. The production gives Yasa’s husky voice, sometimes rapped, sometimes sung, ample room to breathe. The album carries a nocturnal, mood-heavy sound that sits comfortably between R&B, alternative hip-hop, and rap.

    At his core, Big Yasa is a rapper, and experimentation doesn’t exempt him from the fundamental metric of the genre: pen game. Rap is a sport. Your writing determines how seriously you’re taken. What distinguishes Yasa here is his simplicity. It’s difficult to explain without listening, the bars are unpretentious yet effective. He writes from lived emotion, and you can feel it. His delivery is effortless, almost as if he’s strolling alongside the beat rather than chasing it.

    Track list: For the Women, With the Women

    The title WAPOA, slang for “fine ladies,” sets the agenda. This is an album built around feminine presence, both thematically and literally. Of the eight featured artists, five are women: N’Jiru, Osa Nkiru, Andia Sande, Venna, and Sailor Goon. Their contributions add melody, perspective, and tonal contrast. Many of the songs unfold like conversations rather than performances.

    Ajay and Pappi Mulla are the only artists to return from the first WAPOA SZN. Luo trap artist Wuod Baba closes the album with the outro.

    Thematically, WAPOA SZN 2 explores intimacy in its many forms, lust, dancefloor chemistry, tenderness, trust, and loss. Women function as muse, mirror, and measure of self.

    I spoke with Yasa in October during the build-up to the album’s first live performance. We met in Makina, Kibera after a planned live band rehearsal was postponed. When I asked why he chose to have Hatikvah produce the entire album, he simply said, “Hatikvah anaielewa.” Hatikvah gets it.

    He also revealed that, with the exception of Sailor Goon, all collaborators physically linked up in the studio. There’s an authenticity that comes from shared space, something you can hear in the music. At the time – October, he told me Concentrate was the track he had on repeat.

    Conclusion

    WAPOA SZN 2 is a curation of moods. It is an album of fragments, brief, intense, sometimes unresolved moments of intimacy that mirror the nature of relationships themselves.

    The project feels deliberate and well thought out. Big Yasa proves that his vulnerability is not a gimmick but a genuine artistic evolution. This is an album that belongs to women in voice, in theme, and in inspiration. It also belongs to men who are learning how to feel, to admit distraction, and to love openly while still holding on to the bravado of being a hustler.

  • F1 (2025) A Hollywood – Sports Film

    By Joe Aura, aurajoe6@gmail.com

    F1 (2025) is a good ‘Hollywood’ fantasy of the sport.

    Visually, it delivers an authentic reconstruction of Formula 1 racing put on film. Narratively, it leans into Hollywood logic so hard that purists may need a neck brace. The result is a movie that is written in perfect script, but in the wrong language.

    The film stars Brad Pitt as Sonny Hayes, a veteran driver making an improbable comeback, partnered with rising star Joshua Pearce (Damson Idris). Filmed during actual Grand Prix weekends, with real cars, real paddocks, and real team principals roaming in the background, the movie achieves a level of realism that traditional sports dramas rarely touch. The seamless integration of real F1 personalities – Toto Wolff, Max Verstappen, and even the Sky Sports commentary crew – gives the film an almost documentary-like immediacy.

    The film soars in its technical execution.

    Director Joseph Kosinski, who elevated aerial cinematography in Top Gun: Maverick, does for motorsport what he previously did for fighter jets. Working with cinematographer Claudio Miranda, he uses custom-built cameras mounted onto modified F2 machines, creating visceral, vibrating close-ups of wheel-to-wheel combat. Unlike the polished, TV-friendly broadcasts fans are used to, the film plunges the viewer directly into the claustrophobic violence of 300 km/h decision-making. The speed feels real because it is.

    The neutral, clean color grade – faithful to some track conditions – gives the film the texture of a modern sports documentary. Meanwhile, Hans Zimmer’s score pulses beneath the chassis like an idling V6 hybrid: restrained when needed, thunderous when unleashed.

    But for all the technical mastery, F1 could not resist Hollywood flair. And this is where some fans slam the brakes.

    Several race sequences rely on physics-defying heroics, impossible overtakes, and a spectacular fireball crash from which a driver recovers with suspicious speed. Strategy is simplified to safety hazard levels – “Plan C for Chaos”- a far cry from the razor-sharp, data-driven realities of modern F1. And while Lewis Hamilton’s role as producer helped elevate accuracy, even his involvement couldn’t prevent the script from leaning into familiar underdog tropes: the aging legend returning to glory, the friction-turned-friendship between teammates, and a subplot romance squeezed into a sport where drivers barely have time to breathe.

    The paddock environment, however, is startlingly believable. I felt like I was in a paddock myself. Kosinski captures the militaristic precision of pit crews, the media storms, the pressure-cooker atmospheres, and the corporate spectacle that surrounds every race weekend. It is the closest the average viewer will ever get to the Formula 1 they watch but do not truly see.

    In the end, F1 (2025) is a dazzling cinematic achievement wrapped in a script that could have taken more risks. It is thrilling, undeniably beautiful, and engineered with obsessive care – yet it asks audiences to suspend disbelief at every narrative corner. Casual viewers will cheer. Hardcore fans will wince. But both will walk out entertained.

     

    For story pitches, commissioned writing, or collaborations, connect with Joe on LinkedIn: https://www.linkedin.com/in/aura-joe-digitalproducer/recent-activity/articles/

  • Film Review: The Brutalist

    By Joe Aura, aurajoe6@gmail.com

    The Brutalist is a cinematic masterpiece that has already cemented its place as one of the most talked-about films of the year. Directed by Brady Corbet, the film chronicles the poignant journey of László Tóth (Adrien Brody), a Holocaust survivor and visionary architect navigating the complexities of post-war America. With its emotional resonance, stunning technical execution, and a haunting score by Daniel Blumberg, The Brutalist has garnered significant acclaim and is poised to sweep the Oscars with 10 nominations, including Best Picture and Best Director.

    At its heart, The Brutalist is a story of resilience, identity, and artistry. László’s journey is both deeply personal and universally relatable, as he grapples with the trauma of his past while striving to honour his family’s legacy through architecture. Each structure he designs serves as a tribute to his memories, embodying the stark beauty and complexity of brutalist architecture itself.

    The narrative offers a vivid depiction of the societal and professional challenges faced by immigrants in a rapidly changing America. Corbet masterfully intertwines László’s architectural pursuits with his emotional struggles, creating a story that is as visually striking as it is profoundly moving.

    Adrien Brody delivers a performance as László Tóth, capturing the character’s vulnerability and determination with remarkable depth. Felicity Jones and Guy Pearce shine in supporting roles, adding emotional layers to the story. The cast’s collective brilliance elevates the film, making every moment resonate with authenticity.

    From its sets to its cinematography, The Brutalist is a film feast. The architectural visuals are breath-taking, showcasing rough textures, massive forms, and the dramatic impact of brutalist design. Daniel Blumberg’s haunting score, underscores the film’s emotional depth and leaves an indelible mark on viewers.

    Watching the trailer for The Brutalist reignited my love for brutalist architecture, a style that fascinates me for its rawness and functionality. It reminded me of Jabari’s loft apartment in Entergalactic, the Air Nomad temples 犀利士
    from Avatar: The Last Airbender, and my dream of living in a renovated factory surrounded by greenery. Brutalist architecture’s emphasis on rough surfaces, massive forms, and dramatic shapes makes it both imposing and beautiful, qualities that seem to parallel László’s character and journey.

    The Brutalist is more than just a film, it’s an experience that challenges, inspires, and moves its audience. Brady Corbet has crafted a story that is as monumental as the architectural style it celebrates. This is a must-watch for anyone who appreciates cinema that pushes boundaries and leaves a lasting impact.

    Rating: 9.5/10

    References

    • The Duke Chronicle

    • The Daily Utah Chronicle

    • USA Today

     

     

     

     

     

     

     

     

  • Wicked Review

    Wicked: Part 1 (2024) Review

    By Sean M. Pertet

    SPOILERS AHEAD !

    Wicked Part One is a quirky musical that cleverly sews in comedy and drama. Directed by John.M. Chu, it follows Elphaba (Cynthia Erivo) a green girl who is bullied and scorned for her differences in the fictional and magical Oz. Additionally she has natural magical gifts that make objects defy gravity. Following the obvious complications of her childhood she is the least favorite child as her younger sister is dotted on and treated with much more affection than she is It also doesn’t help that her mother passed away, resulting in her father hating our lime-colored protagonist even more.

    Erivo’s character is sent to Shiz University where she is fated to stumble on the opportunity to study sorcery under the tutelage of Madam Morrible, (Michelle Yeoh) who mentors her. Promising an audience with the Wonderful Wizard of Oz ( Jeff Goldblum).

    A green fish out of water Elphaba Thropp challenges social norms, juggles romance, rivalry and friendship. Taking on the Shiz’s queen bee, Galinda and somehow becoming best friends in the process. A bit cliché. Also cliché is her and the beloved Glinda ( Ariana Grande-Butera) her new best friend ,falling for the same boy. The dangerous, devilishly handsome Prince Fiyero( Jonathan Bailey from Bridgerton). I bet no one saw that coming.

    Despite her wicked appearance, Elphaba takes every chance to show us that she has a strong moral compass. With Glinda by her side, she truly believes that there’s nothing in the world that they can’t face together. In that she is blatantly wrong.

    The final act of the film leaves everyone betrayed. Most especially Glinda and Elphaba.. Ultimately, these two brilliant young women must take stances casting them into their melancholic roles as : Glinda the good witch of the North and Elphaba the wicked witch of the west. Forced once more to play the roles society sets on their shoulders.

    One thing I did not like that much was that the music, as angelic as it was, predicted future events. Giving away plot details and robbing the award-winning film of any suspense. Many details of the film were hinted at in the musical numbers that were released for all to stream months before the film’s premier.

    Another fatal flaw was that they didn’t accomplish their premise in one movie. What made loveable Elphaba wicked? I don’t think that’s something you need two films to tell.

    Just as there were pitfalls the film had a few perks: One, the performances were enthralling to the very last sequence, saturated by an array emotion and hard work in the vocal industry that has earned it’s place in the forgettable history books.

     

     

     

  • Island  of Sea Women

    Island  of Sea Women

    BY Mercy Mwaniki

    Island of Sea Women by Lisa See is set on the island of Jeju, off South Korea, during Japanese colonial rule. It tells the story of two women from different backgrounds who form a close bond, but whose choices take them through betrayal, heartbreak, strength, and forgiveness. It also immerses you in a distinctive, unforgettable culture and introduces exceptional female divers, with dramatic history shaping their lives through the 1930s, WWII, and the Korean War.

    “… you are like sisters, and I expect you to take care of each other today and every day as those tied by blood would do.” My mother said, and it was as much a blessing as it was a warning. Mi-ja and Young-sook became friends after Young-sook’s mother found her stealing food in their garden. Mi-ja was not welcomed because her father had chosen to work for the Japanese and was thus labelled a traitor. After her parents died, her uncle and aunt took her in, but rather than caring for her, they mistreated her.

    In that era, women were the breadwinners of the family, and fathers took care of the children. Mi-ja had no one to teach her how to dive, as that was the main way of earning money to feed the family and send the boys to school. When Young-sook’s mother took her in, she was more than grateful and did her best. The men used to fish, but when the Japanese came, they imposed higher taxes on them than on women. This is how women became the providers, not only because of lower taxes but also because they had more body fat, making them better suited to endure the cold.

     

    In a book that portrays all forms of human cruelty, women are shown as people who had an aptitude for work, patience, strength, independence, persistence, resilience, and an understanding of suffering. A wife’s social and family duty was to bear a son who would extend her husband’s lineage. Yet, every family was grateful to have a daughter because she would always be a provider. Men spent their days taking care of the children; others drank away the money their wives earned or, at times, took another wife. The women tried to understand how they felt, “to live in a household that depends on the tail of the skirt.”

     

    The women maintained their diving rights and would go out in the morning and return in the afternoon or late evening. They would catch abalones, octopuses, sea urchins, and sea snails, selling the best catches while feeding the rest to their families. When the Japanese invaded, they did all the wrong things:

     

    1. Took their sons to dig caves to hide Japanese soldiers.

    2. Imposed high taxes and stole from them.

    3. Raped women and girls.

    4. Killed anyone who resisted or even raised a question or concern.

    The friendship of the two is tested throughout the story. Secrets kept, untold pain, and difficult choices led to miscommunication and misunderstanding. From going to Russia as divers to earn money even in the cold seasons, to having an arranged marriage and starting families. One married a kind, loving man who was merely a teacher but took care of her and the family. The other married a cruel man who hurt her and whose family collaborated with the Japanese. Just as Young-sook’s grandmother said, “That girl has left Hado as she arrived, the daughter of a collaborator.”

    Their marriages were the last straw that broke the camel’s back. They could no longer see each other daily or make memories as they had before. The events that followed, while in the hands of the Japanese, made things worse. Their children fell in love, as they had dreamed when they were young. But things had changed, and Young-sook felt betrayed by her own daughter, thus severing ties with her. Luckily, Mi-ja’s son was the opposite of his father.

    So, how do you reconcile the past and the present? What can compare to losing a mother, friends, siblings, and watching your husband and child killed before your eyes? How do you understand a traitor’s child, married to a collaborator, but who refuses to save your child and saves her own? Their entangled past became history in the present, and when reforms happened, Young-sook made it clear that nobody could understand the magnitude of what they went through.

    When Mi-ja’s grandchild Clara and her mother come to deliver a message, Young-sook is conflicted. While listening to Mi-ja’s voice before she died, she remembered what Mi-ja had said when her mother died: “You are not alone. You will never be alone. You will always have me.” A promise kept till death. She understood that Mi-ja’s life was no better. Mi-ja had her own share of suffering and tried her best to protect her child and friend.

    Young-sook tried to live by the words, “A good woman is a good mother.” She realized Mi-ja had tried to do the same, though with tragic results. And that is when Young-sook learns that, to understand everything is to forgive.

    Island of Sea Women is a 374-page book that delves into the lives of Mi-ja and Young-sook. It introduces the reader to a totally different culture and draws them not only into the past but also into the present. This book gave me a different understanding of the colonial era, female friendships, and the unique perspective of women as breadwinners. It was a solid 8/10, probably because, apart from fully immersing me in the culture, it stirred emotions such as outrage, confusion, tears, and even excitement.

    I would recommend you get yourself a copy at Textbook Centre for just 1,179 KSH, and if you need a good cry, the chapter on “Life-Giving Air” is for you.

     

  • Review on the movie: Barbie

    By Jade Mwaniki

     

    I recently watched one of the most popular movies released this year, Barbie. It premiered in July. What I loved about the movie were its graphics and the design. It was very vibrant and captivating because of the colors incorporated and the precise attention to detail.

    The characters that acted in the film are renowned artists, which was a plus for the film, since their top tier acting skills attracted a large audience. Margot Robbie, who played Barbie, and Ryan Gosling, who played Ken, gave stellar performances in their roles which contributed to the articulation of one the most important aspects of film production – which is the concise relay of any film’s message.

    There is no doubt that we live in a gender biased world. That has and will be the case for years to come until gender equality can be effectively achieved. Margot and Ryan, through their respective lead roles, clearly showed this problem that we face in society. The Barbie doll, on which the movie is based, is a well-known brand. It is a popular doll among many children (mainly girls) the world over.  Previous iterations of the movie spoke to how the doll influenced many young girls and created unrealistic expectation of what a girl’s life, body and social status should look like.

    However, the production of the new version of the movie Barbie, had a whole different layout and script to it. From statistics and research that I did from various websites, Barbie had “quite a good rating and most people liked the message the new movie was sending. It was a powerful, empowering message for all ages, uplifting women in the society from all backgrounds and across every spectrum.” These are some of the comments that were left on the websites that were featuring the film.

    As a woman, when I finished watching the movie, I felt so inspired, happy and determined to do things differently and to chart my own way. Women go through a lot of daily pressures, and it was nice to feel uplifted and powerful in a society that is ordinarily so harsh and brutal to women. It is good that this narrative is slowly changing and becoming more dynamic, opening opportunities for women spiritually, socially, economically and financially as well.

    However, from several reviews, some people felt that certain aspects of the film could have been done differently. People, especially men felt that there was a lot of ridicule of patriarchy in the film. Despite the script mostly being centered on praising and uplifting women, some men felt that the film was ridiculing them and could have still uplifted women without necessarily having to diminish them. This to be expected, since both positive and negative feedback are part of what make movies so great.

    I view this dialogue as being both healthy and necessary, because societal change for the better usually happens as a direct result of people discussing everyday challenges, and seeking solutions to them, rather than hiding or running from them. Once again, this speaks to the value of film and theatre in addressing social ills.

    In conclusion, I loved the movie and would definitely recommend it. Obviously, I preferred it to Oppenheimer. I know, I know, most of you may be shocked but it just was not for me. I like living in a Barbie world, especially this one!

  • HIDDEN FIGURES

    {Photo courtesy of 20th Century Studios Family}

     

    By Caren Chelangat

    The movie, Hidden Figures (2016), not only serves as an item of good entertainment, but is also admirable in depicting the scientific changes in the USA in the 1960s, the social life issues of that era, and differences that existed in the country, especially among African-Americans. The movie centers around the lives of three women: Katherine Johnson, who is recreated by movie star Taraji P. Henson; Mary Jackson, who is played by Janelle Monáe; and finally, Dorothy Vaughan, as the mathematician portrayed by Octavia Spencer. Essentially, all three women of AfricanAmerican backgrounds, they play vital roles in society through their contributions while working at NASA towards the successful launch of a spaceship into orbit.

    As an informative movie, it shows the condition of African-Americans among the wider USA community and some of the issues they faced. These include gender imbalances, as well as racial discriminations. From a historical perspective, the film shows a depiction of the Jim Crow rule, which created ideologies of segregation — requiring some buildings and facility spaces to be separated to ensure that races were kept apart (Edwards and Thomson, 146). The impact of such a rule is seen through Mary Jackson in facing opposition as a result of taking a course in physics at the graduate-level. There is also a depiction of racial discrimination where there are separate toilets for white people and for colored people.

    Additionally, the film depicts differences in the social treatment of community members among various ethnic groups. As seen in the film, at the Langley Campus at NASA, even if African-Americans and white citizens work within the same vicinity, they are segregated — with African-Americans using separate dining facilities and bathrooms. This ranked as a key feature during the Jim Crow years acting as a tool for the unequal treatment of AfricanAmericans ,Edwards and Thomson. In the film, Katherine Johnson is seen running from her office just to visit the washrooms, sometimes even in the rain.

    The film, Hidden Figures, is also important in showing the social differences between men and women in historic America. There is a sense of prejudice and workplace bias towards women from their fellow men counterparts. One scene from the film depicts Katherine Johnson (played by Taraji P. Henson), who is skilled in computing and at explaining information to the board, yet sidelined and prevented from being among the men by Paul Stanford, a lead engineer on the project. Rather, she is forced to relinquish her presentation files to men, as opposed to making the presentation herself.

    However, with changes and acceptance, Katherine is finally allowed to present, especially with the support of Al Harrison. The film also shows the importance and impact that the three women played in shaping the subsequent events at NASA, and in shaping the whole community. Through power and determination, the women act as motivators for other women, especially African-American women. As seen with Dorothy working with other white women and commanding several computers, she gets bypassed for upcoming promotions within the company for the role of supervisor. Also, Dorothy is treated maliciously by fellow co-workers and her boss. However with perseverance , she encourages fellow African-American women to take up programming lessons as a way of preparing themselves for the changes in computing. With all of the dramatic prejudice and issues undertaken by these three women, the movie does an excellent job in portraying past issues faced by African-Americans, explaining scientific changes in USA, and in creating a vivid picture of the social differences in gender in the 1960s.

  • The Woman King

     

    By Nkatha Wainaina

    (nkathawainaina@gmail.com)

    Are you tired of seeing male dominated fights and unrealistic women fighters? Are you tired of seeing fights with guns as the protagonist dodges them like it’s nothing? Are you tired of Africa being painted in a weak and desperate picture? This movie is a change of pace.

    A friend recommended this to me and I hesitated until I finally gave in. I would like to officially apologize to her. Gigi, this was worth it!

    The Woman King is an action drama, directed by Gina  Prince-Bythewood. She has also directed Beyond the Lights and The Old Guard.

    In the 1800s, a group of all-female warriors protects the African kingdom of Dahomey with skills and fierceness unlike anything the world has ever seen. The women warriors live secluded in the kingdom, where men are not allowed to enter. The women are comprised of captured women from enemies they conquered, run-aways and insolent women who refused to be married off to significantly older men, who abuse them before officially getting married. They take an oath of celibacy and not getting children.

    Faced with a new threat, Gen. Nanisca trains the next generation of recruits to fight against a foreign enemy that’s determined to destroy their way of life a.k.a white people. The tests are excruciating and hard but it gets the work done. Naniska is forced to deal with her past and the results of that past, and still rises to become The Woman King. I have tried not to butcher the summary, as well as not give too much detail that would ruin the experience of watching it.

    Though a fine choice of actors, perhaps next time they should try an all Africans cast instead of Americans in fake accents? How Africa is portrayed in Hollywood is slowly changing. We have been seen as a war ridden continent, where terrorists go to hide for five minutes of the film before they are brought back, or people who constantly need water, churches and hospitals and the main character’s love interest has to leave him for a while to go do good will.

    The movie focuses on women. African women. Their strength. Their might. Their resilience. At the end you start to think women are cut from a different cloth. Do not get me wrong. I am not using this as a front to spearhead toxic feminism. I am using this article to remind women that they don’t just belong in the kitchen. I don’t mean go to war, but if they did, wars would end in three weeks. Through all this, they show that women still cry. They are emotional beings and that drives them to make risky but fruit bearing decisions. How working together could lead to great heights and generally supporting each other But standing out undeniably, is how beautiful Africans are!

    It was brilliantly written and artistically brought to life. The cast consisting of Viola Davis, Thuso Mbedu, Lashana Lynch, John Boyega and Sheila Atom could not have done a better job! The investment of the audience, the twists, the raw and bare way of entertaining and still having a valuable lesson at the end. You don’t see that too often nowadays.

    Incase you missed where I stand on this cinematic masterpiece, I a hundred percent recommend it.

  • Don’t Worry Darling

     

    By Nkatha Wainaina

    (nkathawainaina@gmail.com)

    Don’t Worry Darling is a two hour long mystery thriller, directed by Olivia Wilde.

    Alice (Florence Pugh) and Jack ( Harry Styles), live in a idealized community of Victory in the 1950s. It’s an experimental company town that houses the men who work at a top secret project. Their wives stay home, cook for them, clean, go shopping and wait for them to come home. The husbands work hard at the job they are not allowed to speak about, while their wives enjoy the luxury and beauty of their seemingly perfect lives.

    After witnessing a plane crash, Alice starts to see things. She starts noticing a few things are not right in the neighborhood. She slowly starts questioning what she’s doing in Victory. She traces all the problems back to Frank, played by Chris Pine, the founder of the project. She tries telling people including her husband of her suspicions but they all tell her she’s crazy. She’s taken through a procedure that makes her forget all her suspicions.

    Eventually she ends up remembering everything. Her husband lost his job and he was having trouble getting back on his feet. She worked as a surgeon and had to take up more shifts to keep them afloat. Seeing how miserable his life and that of his wife had become, and she not having time for him, he opted to sign up for a project he had seen online.

    I had major problems with this movie, especially around the storyline. It was a fine storyline. I must admit I did not see that twist coming. But the plot holes were too massive to ignore. This project was a simulation that took place in their bedroom. Did no one never try to come into the house? Not even the landlord? Alice was a surgeon, did no one notice she was missing? What was the project they were working on? Was Frank’s wife in on it as well? Other than the general outline, the movie did not give any satisfactory answer or ending.

    With all these, my attention was directed towards the husband. He completely altered his life and his wife’s, for her to be comfortable. For her to stop working and stop worrying. Or he completely stopped her life so that she could be completely his and have time for him. Is that romantic or controlling?

    The actors were alright. Harry Styles was either very consumed in his role or completely disinterested. Which ever one it was, it worked in his favour. Other than his accent that changed whenever he spoke, he did a good job. Florence arguably carries the whole film on her own, with a few other characters doing a great job with the five minutes of screen time they get.

    I would recommend this movie only for the different perspective it brings out: do you think Jack’s actions are justified or completely selfish?. The description of the movie is well placed. It maintained the mystery well up to the end. It doesn’t drag on for a long time and relatively enjoyable if you see past the glaring gaps.