Movie Reviews
‘It Was All a Dream’ Review: Compelling dream hampton Memoir Mines the Past to Make a Case for Documenting the Present
Early in the documentary It Was All a Dream, the veteran music journalist and filmmaker dream hampton (stylized in lowercase as an homage to the scholar bell hooks), moseys around the offices of The Source magazine, filming her colleagues. The hip hop periodical was, in its early days, a wellspring for understanding the nascent genre. “I learned to be a fan and a critic of some of the greatest artists of a generation,” hampton says in a voiceover that accompanies brief scenes of debate among writers and interviews with editors. The Detroit native moved to New York in 1990 to study film at NYU and a few months later, she joined The Source’s staff.
Premiering at the Tribeca Film Festival, It Was All a Dream chronicles hampton’s early years in New York. The Surviving R. Kelly (2019) executive producer culls footage from her personal archives (shot between 1993 and 1995) and sets those clips against poetic excerpts of pieces she wrote for The Source, Spin, Village Voice and Vibe between 1993 and 1999.
It Was All a Dream
The Bottom Line Affirms the importance of archival work.
Venue: Tribeca Film Festival (Spotlight Documentary)
Director-screenwriter: dream hampton
1 hour 23 minutes
As a young hampton cruises through the streets of Brooklyn with Biggie Smalls, her present-day self recites early musings about hip hop as a genre of “kamikaze capitalists” and young Black boys “who quickly expanded their tightly wound worlds then set them afire.” Her meditations are drafts, evidence of a feminist thinker and genre custodian in the making.
Hampton wrestles with the reality of hip hop’s commercial traction and misogynistic impulses. The doc is buoyed by her unbridled enthusiasm for tackling big questions of gender, capital and craft. She interviews Biggie, Method Man and Snoop and holds court with Nikki D, Hurricane G and LeShaun. On the table for discussion: albums, aspirations and the unrequited love between men and women in the genre.
More than a time capsule of an exciting moment in hip-hop, It Was All a Dream makes a compelling case for fastidious documentation and preservation, especially in music journalism. (Hampton recently directed an episode of Netflix’s docuseries on female rappers, Ladies First.) The film is a trove of information about some of the earliest days in a genre some people thought wouldn’t survive. It shows how contemporary conversations about distribution and misogyny extend into the past, where they were also topics of fervent debate.
When hampton convenes with rappers like Nikki D, LeShaun and executives like Tracey Waples to talk about fortifying a community of women in hip hop, it adds a thrilling layer to the current landscape, which includes, for example, new-gen collaborations between Megan Thee Stallion and Cardi B.
An interview with Richard Fulton, owner of the coffee and jazz house Fifth Street Dicks in Los Angeles, about who will own the distribution rights of hip hop records in the future connects to Vince Staples and other rappers’ ongoing reflections on the insatiable greed of music labels. It Was All a Dream, like so many archival works, reminds us that the past is the present is the future.
As a window into the past, It Was All a Dream contextualizes parts of hip hop and pushes against convenient amnesia. Hampton takes us around the country, from Bedford Stuyvesant to Venice Beach, to show how rappers in different locales experiment with rhyming styles and samples. She loosely organizes her doc around geography, using title cards with neighborhood names to demarcate a new section.
Hampton also digs into modes of self-expression and coastal beefs; she lets artists wax poetic about what their music will help them achieve. Hip hop, then and now, was a site of play, a political tool, a repository for hopes and dreams.
It Was All a Dream also offers rare perspectives from some of the genre’s greatest acts and enduring villains. Biggie freestyling in the studio; Lil’ Kim leaning into the window of his car in one scene; Diddy, whose recent sexual assault allegations have shaken the industry, grooving to a beat. The grainy, shaky and occasionally underlit footage gives It Was All a Dream a coarseness that makes the doc feel more intimate.
In The Source office, hampton interviews managing editor Chris Wilder, who doubles down on the importance of the publication: “Thirty years from now, if hip hop comes and goes, people will look at The Source to see what happens,” he says.
Listening to Wilder’s words and watching hampton, armed with her camera, confidently interviewing friends and observing mundane moments in the lives of these artists, inspires questions about the current music media landscape. Some of the magazines hampton wrote for still exist in theory, but many have been gutted by lack of funding, venture capital shuffling, the dramatic shift from print to digital and the ease with which charlatans can cosplay as journalists on social media.
Still, a record must be kept and someone must do the keeping. Driven by an awareness of hip hop’s profundity and a commitment to how its story should be told, hampton documented, becoming a custodian of the genre’s history. It Was All a Dream brims with the green energy of an enthusiast and affirms the power individual archives play in building a community narrative.
Movie Reviews
Sisu: Road to Revenge
The lethal and tenacious Aatami Korpi returns in this sequel to 2022’s Sisu. Like its predecessor, Sisu: Road to Revenge offers up nonstop, gory hyper-violence as the old soldier shoots and stabs his way through the Soviet Union’s Red Army to avenge his family’s murder. Paired with all the bloodshed is a handful of f-words and some drinking, as well.
Movie Reviews
Movie Review: “Sisu: Road to Revenge” takes a Wrong Turn or Three

I am an audience of one at a late afternoon “preview” matinee of “Sisu 2,” aka “Sisu: Road to Revenge,” the sequel to the savage sleeper hit by Finnish carnage Jalmari Helander.
Do the locals know something I don’t? Or are the good folks in “The Last Capital of the Confederacy” showing their red ball cap displeasure at a movie about mowing down Russians by staying home?
I’m guessing it’s the fact that Screen Gems’ marketing didn’t spend enough to move the needle even a centimeter that dampened enthusiasm, as nobody knows about it.
That’s no big deal, because this sequel is inferior in pretty much every way to the original “Sisu,” which came out of nowhere back in 2023 and which takes its title from a Finnish word that more of less means unfettered rage. It’s not on a par with Helander’s “Rare Exports” Santa-horror splatter film either. He’s due for a misstep. Here it is.
“Road to Revenge” brings back our non-speaking, unstoppable and unkillable Finnish commando Korpi (Jorma Tommila), this time out to haul the pieces to his house across the Russian border after the end of World War II.
When your anti-hero is “unstoppable” and “unkillable,” that lowers the stakes. A lot.
Throw in feeble pacing and thus no urgency to its story of driving, shooting, stabbing and missle-launching his way through legions of belligerant Russians, fresh from their triumph in “The Great Patriotic War,” and you’ve got a thriller whose only creative bits are random moments of Russian-mutilating and murdering.
Remember, the vodka/borscht-folk and their dictator sided with the Nazis at the beginning of WWII, only to F-around and find out you can never trust a Nazi. And the Russians further earned their history’s bad-guys status by invading Finland at the start of the war, and paying dearly for their miscalculation, at least for a time.
The Soviet Russians annexed Finnish territory at war’s end, and that’s where Korpi lived. So he’s got his passport and his battered, oversized military truck and he’s aiming to move the logs of his old homestead, where his family was slaughtered, to a new location across the new border.
Ivan doesn’t want him to get away with it.
The stages of his quest are broken into superfluous “chapters” like “Old Enemies,” “Motor Mayhem:” and “Incoming.” The dialogue, almost all of it by a Russian tormentor (Stephen Lang) who commanded the troops who failed to finish off the Finn in the first film, is every bit as pointless.
“Unleash Hell,” like they haven’t already. “Keep your eyes open,” the most worthless command cliche of them all. And “Look at me,” served up as if he isn’t looking at you.
Duels against armored commandos on motorcycles (!?), airborne fighter bombers and the like ensue. Our hero takes another licking and keeps on ticking. The Russians? Let the body count commence, Comrades!
I laughed at a few of the more audacious butcherings, but that was early on. The narrative settles into a slog in the middle acts and no pull-out-the-stops train ride finale could drag it out of the mud.
Rating: R, graphic violence, pretty much start to finish, profanity
Cast: Jorma Tommila, Richard Brake and Stephen Lang.
Credits: Scripted and directed by Jalmari Helander. A Screen Gems release.
Running time: 1:29
Movie Reviews
Wicked: For Good Movie Review: Ariana Grande Shines In A Solid But Weaker-Than-The-Original Finale!
Star Cast: Ariana Grande, Cynthia Erivo, Jeff Goldblum, Jonathan Bailey, and Michelle Yeoh.
Director: Jon M. Chu
What’s Good: Wicked: For Good is definitely a showpiece when it comes to production values, and so, every single frame is beautiful to look at and the ultimate Wizard of Oz experience when it comes to visuals.
What’s Bad: The film is slower than the first, and it feels, especially when the new songs don’t hit like the ones in the previous instalment ,and dialogue feels like a lot of filler.
Loo Break: Anywhere in the first act, as the film moves so slowly that you can probably go and come back and not miss anything.
Watch or Not?: If you loved the first one, then yes, you need to see this and close the cycle.
Language: English (with subtitles).
Available On: Theaters
Runtime: 137 Minutes
User Rating:
Opening:
Wicked: For Good Movie Review: Script Analysis
Wicked: For Good is a solid film, there is no doubt about that, you just have to look at the powerful visuals, and the entire production value, but the script might be the weakest aspect of the film, especially when it comes to structure and dialogue, which affects the pacing, making the first two acts of this musical epic feel like it could do with a couple more drafts to make the story tighter, and the flow a lot more natural.
As it is, the first two acts move a snail’s pace, and the songs simply don’t match the quality and catchiness of the songs in the first two acts of the first film, here, the songs feel like they are there just to make the film longer, and it is hard to remember one that is simply memorable enough to sing along. Fans of the original musical will probably have a lot more fun with this aspect of the film, but as a newcomer, I did feel a drop in quality on the musical side.
The dialogue also does a lot of damage to the film, as it feels like everything is delivered in two or three lines that are too long, when it could have been conveyed in a simpler and more efficient way. It just doesn’t work, and while the actors do their best, the material doesn’t hold up. Nevertheless, some jokes here and there truly land, and the film does tell a compelling, complete story, which is a lot more than many other films do today.
The third act also feels quite rushed, and the connections to the original Wizard of Oz film, and the characters from that story deserved a lot more, because they are so legendary and iconic, that for some reason this movie feels like it should just move away from them as fast as it can, hurting the overall impact of the story, and the character growth.
Wicked: For Good Movie Review: Star Performance
Cynthia Erivo is quite solid in here, and she is plotwise, the main character, but let’s be real, this is the Ariana Grande show, who basically steals the show in every single scenes she is in, not only with her powerful voice but also with her solid acting abilities, she just has it, when it comes to presence, delivery and charisma.
The rest of the cast is quite good. Bailey does some terrifying things in the film and effectively creates all the darkness it needs, while Goldblum’s Oz is just right – nothing to talk about, but definitely his performance, along with the rest from all the other actors, doesn’t hurt the film; it elevates it.
Wicked: For Good Movie Review: Direction, Music
Jon M. Chu started as a relatively standard director. Still, he has definitely graduated to the big leagues with these two films, as the scale of everything just goes out of the window when it comes to the visuals and the camera’s placement, which is always in the perfect spot to show it. Really, the world-building that Chu and his team have created here is outstanding.
The music, as we said before isn’t as good or memorable as the first film which really hurts the experience because this is a musical and I thought the best was being safe for last in the song department, of course, it will be a matter of taste, as it is everything but this is definitely one of the biggest negative points for the film. Nevertheless, the performers are truly going out of their way to create something extraordinary, so there is really nothing to criticize regarding the actors, dancers and singers themselves.
Wicked: For Good Movie Review: The Last Word
Wicked: For Good closes this adventure in a solid manner, although the overall package feels weaker than the first film, which is disappointing. However, Jon. M. Chu, his team, and his cast demonstrate that they truly care about the project, and it shows on the screen as the film finally delivers on being entertaining, grandiose, and visually stunning. It could have been better, but what is there is truly remarkable.
Wicked: For Good Trailer
Wicked: For Good releases on 21 November, 2025.
Share with us your experience of watching Wicked: For Good.
Must Read: Now You See Me: Now You Don’t Movie Review: The Strange Case Of A Sequel That Nobody Wanted & Many Had Already Forgotten!
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