ADRIANO

For our resident awards aficionado, I needed to find a movie filled with vibes. That is what always seems to get Mr. Caporusso out of bed in the morning: lowkey pretentious, high-key aura, and monumental performances. There was one movie that stood out in my mind that covers all those prerequisites. For Adriano, I chose……

EVE’S BAYOU (1997)

I was fairly shocked to realize that not only was Eve’s Bayou directed by Kasi Lemmons, but it was her debut film. Despite the (mostly) grounded storytelling, the movie is presented in an oddly mystical way. Even though it’s a domestic family drama, there's something about the gothic undertones that drive the film (both narratively and thematically) that feel otherworldly. Memory plays a heavy role in the film, and the exploration of how hazy it can be only adds to the effect, not to mention the excellent ensemble. I genuinely can't stress enough just how well-made the movie is. The Louisiana setting makes way for some beautiful cinematography, especially with the way the lakes and nature are filmed, but I also couldn't help but notice how well-lit the interior scenes were. Plus, the sound work gives the film a very lived-in feel, and while the score might be a little soap opera-y on its own, it works with the tone of the film.

With every genre sensibility that Lemmons presents here, Eve’s Bayou never comes up short emotionally. Obviously, history plays an integral role in the story, but the family drama gives it even more authenticity. These lives feel very real, and through the relationship between the father and daughter (Samuel L. Jackson and an 11-year-old Jurnee Smollett), we get a very profound look at the way we process our familial baggage.

KATIE

There is nothing about Katie that doesn’t yell “sweetheart.” Kindness, intelligence, and care just oozes out of every word she types, so I looked for a coming-of-age film that brings a combination of joy and thoughtfulness. Plus, she is something of an academic (or at least she writes like one), and I needed a film she could relate to as a student. For Katie, I had to go with…

DOPE (2015)

As a fan of coming-of-age narratives and American indie cinema, I was very excited to watch Ru’s recommendation Dope, especially after having recently loved Shameik Moore’s hilarious role in The Gutter. I can see why Ru thought I’d enjoy this movie because it's brimming with unconventional coming-of-age themes and irreverent indie humour while taking a unique storytelling approach to the serious issue of bias in academic processes. Dope both defies and satirically indulges stereotypes. As I was watching, I realised that I could not recall another instance of black nerds on screen, much less a film that focuses entirely on their experiences and nuanced identity. So, although Dope is thoroughly entertaining, it also made me think about the lacking representation of these character types elsewhere. At times, the film veers from offbeat high-school comedy to sudden violence, but the tonal shifts reflect the uncertainty and unpredictability of the L.A. neighbourhood. The cast has great chemistry and no issues handling the diverse emotional demands of the story, and their close friendship feels convincingly authentic. Plus, it's absolutely stacked. Since I went into the film blind, I was pleasantly surprised every time I saw a younger-looking familiar face. The energetic editing and creative cinematography keep the pace brisk, yet it also knows when to tone it down for maximum emotional impact. What’s more, the incredible soundtrack is an education in itself, featuring original songs that are genuinely catchy!

NICK

Honestly, Nick was, by far, the hardest person to choose for. He always just seems to be around, meaning unless we’re talking about Back to the Future, he’s down for just about any kind of movie with no extreme emotions about any particular genre. Do I go action? Horror? Sports? A great drama? For Nick, Mr. Middle-of-the-Road, I went with a movie that is underrated even in the Black community but still is hella solid. That film is…

HIGHER LEARNING (1995)

Considering his reasoning (although I push back on being middle-of-the-road), I completely understand why Amarú picked Higher Learning for me as it’s a mix of all genres. There is comedy, drama, thrills, and some entertaining moments, to be sure. Unfortunately, there’s a little too much of everything without director John Singleton giving things enough of a chance to settle and have the weight they should. He is even quoted as saying, “I was 25 years old making [Higher Learning]. I'm, like, chock full of everything that would concern young people: lesbianism, and racism, and everything I could put in that movie.” It shows, John.

The other thing that unfortunately works against the film is that it feels incredibly dated. Not so much in the content (sadly, that’s still all too prevalent these days), but the quality. You get some solid performances from the likes of Laurence Fishburne, Ice Cube, and Omar Epps, but the remainder of the cast is forgettable. As I said, there are entertaining (and harrowing) moments, but they don’t amount to a film that does anything better than its contemporaries. Amarú claims that this film is underrated in the Black community, but I’d argue it’s rated just as it should be: middle of the pack.

PAIGE

If there is a movie that allows a woman to take the sweetest revenge, Paige is there for it. She is known for being a horror queen, but she is always all in on women empowerment. No matter the genre, if somebody (especially a man) is getting their comeuppance from a spurned woman, Paige will be rooting her on from the front row. For Paige, I had to give her the ultimate woman’s anthem on film…

WAITING TO EXHALE (1995)

I’d be lying if I said Waiting to Exhale isn’t an overlong and overstuffed story that feels dated in some respects; however, despite these drawbacks, it’s full of passion, heart, and humor. While the movie tackles the difficulties of dating and relationships, at its core, it exemplifies the strength of friendship between our lead characters, portrayed by Whitney Houston, Angela Bassett, Lela Rochon, and Loretta Devine. This quartet feels like a genuine friend group that would have each other's backs, no matter what. Director Forest Whitaker’s (yes, the Forest Whitaker) film may fall prey to shallow romantic clichés, but at least he made sure to flesh out the central friendship to feel as authentic as possible. These women can overcome anything, as long as they have each other by their side. That’s true girl power, right there. Hoes over bros! QUENTIN

At this point, you’re probably expecting me to call Q an old man. While that’s always something of an exaggeration, the truth of Q is that he is a grown-ass man. He is interested in nothing but being grown at all times, and there’s one film that screams being grown. Grown jokes, grown characters, grown plot line, grown love interests. For Q, I had to pick the grown man’s movie…

A LOW DOWN DIRTY SHAME (1994)

As a dude who grew up loving Keenen Ivory Wayans’ I’m Gonna Git You Sucka and In Living Color (and later, Scary Movie and White Chicks), not to mention old-school actioners featuring wisecracking badasses like The Last Boy Scout (starring Keenen's brother, Damon, incidentally), it’s easy to see why Ru chose A Low Down Dirty Shame for me. Had I seen it when it first dropped in 1994, I have no doubt it would be a nostalgic favorite that I’d still be quoting regularly. But nostalgia is a funny thing. There are so many movies I love for their 90s-ness, but when you don’t first experience that 90s-ness in the actual 90s, it can make for a cringey watch — and watching Low Down for the first time 30 years after its release is rough.

Wayans does a decent enough job both as director and star (though, unsurprisingly, he’s better at the comedic bits than the action ones), but everything is undermined by how dated and cheesy it all is without the nostalgic lens of familiarity. On that same note, in 1994, Jada Pinkett probably stole the show because she is legitimately great as the sassy Peaches. But in 2025? Fair or not, I have a real hard time wanting to even watch her on screen given what she has become. Overall, Low Down probably always felt like Wayans grasping for mainstream Eddie Murphy status, and time certainly hasn’t done it any favors for fresh eyes.

AMARÚ

Ok, don’t crucify me, but when certain cultural staples came out, I was too young to want to watch. Yes, I watched adult movies at a young age, but there were certain vibes that I just didn’t gravitate to. To this day, I’m still not the biggest Scorsese-like gangster film fan. This one isn’t a gangster film, but I’ll finally admit that, until 2025, I had not seen…

MALCOLM X (1992)

I haven’t decided whether Spike Lee’s greatest cinematic achievement is Do the Right Thing or this three-hour, intimate look into one of the most important and complicated figures in American history. What I do know is that the Academy needs to figure out a way to stop handing legacy wins to people who don’t deserve them that year (sorry, not sorry, Al Pacino). Malcolm X — and Denzel Washington’s performance — takes three tonally different movies and immaculately tells them as one magnificently earnest film. It perfectly exemplifies the last century of this country through the Civil Rights leader’s rich story.  Every line, shot, and performance is perfectly placed to magnify the reality of the American experience: racism, poverty, the hustle of the American dream, religion, fame, betrayal, redemption, family, and tragedy. This film is multi-faceted, surprisingly funny, unbelievably harrowing, and outright truthful. I’m glad I finally sat down to learn something that day.