A black-and-white indie that still feels loud. We dive into Spike Lee’s She’s Gotta Have It and sit with the shockwaves it sent through 80s cinema: a black woman who won’t apologize for desire, three men who try to define her, and a city that frames it all. We talk about Nola Darling’s radical honesty—how she tells the truth, sets terms, and refuses the labels men hand her—and why that was a seismic move for representation. Mars brings laughter, Greer brings mirrors and control, Jamie brings tenderness that curdles into entitlement. The dynamics aren’t neat, and that’s the point.

We follow the craft choices that make the story hit harder: still photographs of Brooklyn that feel like memory; Bill Lee’s jazz score that turns rooms into confidences; Ernest Dickerson’s cinematography that gives texture to skin, sweat, and subway light. The lone color sequence—Jamie’s birthday surprise—works like a portal, a Wizard of Oz moment that floats on romance and telegraphs the fall. It’s spectacle with subtext, a dance that quietly scripts ego, apology, and the cost of wishing on a trick candle.

We also go straight at the film’s most difficult turn: the assault. Language from the era blurs it; our reading does not. Spike Lee has since called that scene a regret, and we explore how it complicates the movie’s legacy while not erasing its breakthroughs. Therapy becomes a counter-voice that validates Nola’s sexuality and nudges the conversation toward love, boundaries, and mental health—territory too often dismissed in black communities at the time. Even the much-debated Thanksgiving scene, wild in premise, is rich in composition: who’s in the bed, who’s at the foot, who’s exiled to a chair—an image that says more than a speech.

By the end, we score the film high for originality, craft, music, and cultural impact, while calling out the stumble that still stings. If you care about black cinema, gender politics, or how tiny budgets can reshape a medium, this one’s essential. Listen, share your take—did the movie’s boldness age as powerfully for you? Subscribe, leave a review, and tell a friend who argues about movies as hard as you do.

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We revisit New Jack City with Relly & Delly to explore how a quotable crime saga doubles as a sharp look at addiction, power, and community. Style meets substance as we debate bad policing, a killer soundtrack, and a final act that still stings.

Go check out the Relly and Delly Podcast to find part two of our our collab. You can find them on YouTube and anywhere else you listen to podcasts.

www.youtube.com/@RellyAndDellyPodcast

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The cannon smoke hasn’t cleared on Glory, and maybe that’s the point. We’re diving back into the 54th Massachusetts to ask a simple but uncomfortable question: whose story does the film truly tell? From Denzel Washington’s searing turn as Tripp to James Horner’s towering score that practically carries scenes on its back, this conversation pulls apart the craft, the history, and the narrative choices that shaped a generation’s understanding of Black soldiers in the Civil War.

We break down the big beats: why the film frames Colonel Shaw’s letters as our guide and what gets lost when the camera looks up instead of within; how the Fort Wagner charge plays as doomed valor and whether the “volunteering” rings true; and the moments that still sting, like pay inequity that garnished Black soldiers’ wages down to almost nothing. We draw clean lines to the record—earlier Black regiments like the First Kansas, a 54th composed largely of free Northern men, and Confederate threats of execution or enslavement—and show how those details sharpen, not shrink, the 54th’s courage.

Along the way, we celebrate what soars. The campfire scene folds testimony, rhythm, and resolve into a living portrait of brotherhood. Morgan Freeman’s steady gravity, Andre Braugher’s poised vulnerability, and Denzel’s single tear in the flogging sequence remind us why performances become canon. And Horner’s music? It’s the kind of scoring that elevates a film’s pulse while honoring its grief.

If you’ve only seen Glory in a classroom, this is your permission to rewatch with a fuller lens. If you’ve never seen it, consider this your map: expect beauty, conflict, and questions that echo forward—about patriotism, power, and who gets to be at the center of American memory. Listen, share with a friend, and tell us: should Glory have centered the soldiers’ story? And while you’re here, follow the show, leave a review, and join us for our Black History Month run of four straight episodes featuring Black films and filmmakers.

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We trade top five Christmas movie lists and dig into what makes a holiday film last: belief, chaos, nostalgia, and the way December magnifies joy and loneliness. The debate gets loud, the jokes get sharp, and a few surprising picks earn real defense.

Hit play, rank with us, and tell us where we blew it. Subscribe, share this with a movie-loving friend, and drop your top five in a review—what’s your most controversial Christmas pick?

“Merry Christmas, happy holidays, happy Kwanzaa, happy Hanukkah… happy time off.”

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A single touch can pass a demon like a secret. That’s the chilling conceit at the heart of Fallen, the 1998 Denzel Washington thriller we rewatch and unpack with fresh eyes. We trace how a simple body-hop mechanic turns a crowded city into a minefield, how a Rolling Stones hook becomes a horror motif, and why a restrained supernatural approach can be scarier than jump scares. Along the way, we test the film’s logic and admit where it bends: Azazel’s rules shift, the detective plot strains, and exposition piles up. But when the tension tightens—especially in that cabin finale—the craft and performances sing.

We spend real time with Hobbes at home, because the film does too. Denzel’s quiet care for his brother Art and nephew adds soul you rarely see in 90s genre films, especially with a Black lead who isn’t reduced to the “tortured loner” trope. That warmth sharpens the knife when evil stalks his circle, and it fuels a bigger debate we keep returning to: integrity in a compromised system. From the “little cream” speech to the public execution sequence, Fallen prods questions about justice, punishment, and whether 99% good can withstand 1% corruption. The movie flirts with biblical stakes—Revelation clues, apocalypse letters—while delivering the vibes that made it a cult favorite.

Expect praise where it’s earned: Elias Koteas’s opening creep, John Goodman’s late-game menace, Denzel’s magnetic control, and the needle drop that turned a classic into a shiver. Expect critique where it’s due: uneven rules, contrived policing beats, and lore that reaches further than it grasps. If you’ve written Fallen off as “that lesser Denzel thriller,” this conversation might change your mind—or at least sharpen what you love and what you don’t. Hit play, then tell us: is Fallen underrated, and what would you fix? If you enjoy the show, follow, share with a friend, and drop a rating to help others find us.

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Two friends revisit FernGully with fresh eyes, balancing nostalgia with critique, and dig into how a 90s underdog turned environmental themes into a vivid, musical fable. We weigh Robin Williams’ improvisational spark, Disney-era pressures, and the film’s uneven but heartfelt storytelling.

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In part 2, we pick apart Inglourious Basterds’ bar scene, the Italian ruse, and the theater inferno to show how small tells topple big plans. We debate Landa’s long game, Shoshanna’s revenge, and whether dazzling set pieces outweigh shaky logic.

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Two friends rewatch Inglourious Basterds and unpack why tension, language, and performance make it timeless. We praise Christoph Waltz, question the Bastards’ competence, and track how a pastry order becomes a trap while a cinema turns into a weapon.

Make sure you subscribe, download, and get ready for the thrilling conclusion!

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