Connect with us
21 Incredible Movies About Systemic Racism in America


21 Incredible Movies About Systemic Racism in America

Some of the Best Movies About Racism in America

We’ve been asked by friends, family, and readers to recommend movies about systemic racism, police brutality, and civic unrest that can help contextualize the current Black Lives Matter movement. After much consideration, we’ve decided to narrow down our twenty one favorites films dealing with racism in America. The reason we are sticking to the United States is that there are way too many great films from around the world to recommend— so don’t expect to see a film like Mathieu Kassovitz’s La Haine (France) or Michka Saäl’s Zero Tolerance (Canada) to make an appearance on this list. We hope in the near future, we will be able to write about these other great movies from across the globe. For now, here are twenty essential movies about racism in America that will expand your mind and heart.


12 Years A Slave

The still-festering tragedy that the slavery of black people has wrought across the world harbors a near-infinite amount of stories to tell. But none may be quite as unique as that of Solomon Northup, a free black man who was kidnapped and sold into slavery in the Deep South in 1841, forced into servitude for a dozen years. His struggle to both survive and live, offered in dialogue and action as two separate possibilities for anyone in his position, is the story of 12 Years a Slave, a massive, intensely uncomfortable achievement from director Steve McQueen.

An ensemble cast headlined by the long-overdue-for-a-big-break Chiwetel Ejiofor, a throbbing and menacing score from Hans Zimmer, the unflinching extended-take photography by Sean Bobbitt, and McQueen’s patient sensibility combine for a powerful, unexpectedly sensory experience. In documenting but one small facet of slavery, manifesting as the bleakest, most evil side of humanity, 12 Years a Slave does not strike a false note, in spite of being a punishing, grim piece of modern cinema. (Simon Howell)

Available on Netflix, Amazon Prime | Trailer


As we all know, slavery has been abolished since the end of the Civil War in 1865. However, Ava Duvernay’s 13th explores the 13th amendment and the abolition of slavery with a more critical eye, breaking down the nuance of the amendment and how it has allowed for the systemic exploitation of black people ever since.

As the Netflix documentary shows, the 13th amendment had a seemingly innocuous caveat that, upon deeper exploration, has continued the racial oppression of black Americans in several ways. As black people were arrested for trumped-up charges and forced into prison labor, their voting rights were also stripped away, making them a voiceless commodity, once again, in their country.

13th is a film that absolutely needs to be seen, especially in a time where racial injustice is front and center in the eyes of the public. It is a film that both simmers with the rage and indignation of a struggle which is ongoing today and educates those who were unaware of the hidden implications of the “end of slavery” and how they still resonate. (Mike Worby)

Available on Netflix | Trailer


If there’s one director perfectly suited to tell a story about a black man pretending to be a member of the Ku Klux Klan, its Spike Lee. BlacKkKlansman not only over-delivers on the humour of its own premise, but also functions as a deeply-felt rallying cry at the same time. Although far from perfect, it’s the kind of crowd-pleasing — yet politically aware — comedy that feels like an instant classic for the Trump era. As Big Pun once said, “Spike Lee couldn’t paint a better picture [of contemporary racism in America].”

Spike Lee has gone for as broad and mainstream an approach that a film featuring the KKK and every explicit racial slur in the world could allow. This is a smart move; viewers will come for the high-concept comedy and stay for the lessons regarding police brutality, Birth of a Nation, and the Black Power movement. Given the massive success of films such as Get Out and Black Panther, BlacKkKlansman was automatically poised to be the next big movie about race and the state of America. (Redmond Bacon)

Available on Amazon, Netflix | Trailer

Do the Right Thing

Do the Right Thing is not only a singularly vital work and the quintessential American movie about race and racism but simply the great American movie. No film in at least the last half-century has been so important, so vital, and so American. 

Sure, Do the Right Thing is relevant today, in part because it involves simmering racial tensions, urban gentrification, and, ultimately, the killing of an unarmed black man by a white police officer, leading to the burning of a building.

The particular genius of Do the Right Thing is that it tells this small story about a single neighborhood in a single city, while simultaneously telling a much larger story about America, its history and its legacies. And beyond all of that, Do the Right Thing is a tremendous feat of world-building, establishing with tremendous clarity the specific feel of this Brooklyn neighborhood, and populating it with tremendous characters. (Stephen Silver)

Available on YouTube, Vudu, Google Play, iTunes, Amazon Prime | Trailer

Fruitvale Station

Dramatizing the last hours of 22-year-old Oscar Grant before he was slain by a police officer in 2009, first-time writer/director Ryan Coogler delivers a stirring and sympathetic tribute to his life. Actual cell phone footage of the killing in an Oakland, California rail station named Fruitvale was posted by witnesses to YouTube and is utilized at the beginning of the film to drive home the grim reality of this senseless death. With these harrowing images in mind, the movie rewinds back to the start of his final day. The coming catastrophe looms over every step we see Oscar take, amplifying the meaning behind the smallest of meetings and glances. Illuminating the worth of an unemployed ex-convict who also happened to be a loving father and son, Fruitvale Station is a moving and important reevaluation of someone usually written off by society.

Coogler’s account of the young man’s actions mostly has us follow the time he spends trying to make up with family and refocus on providing for them. The director’s visual flair for little but emotionally resonant interactions is apparent when Oscar’s texting (seen on screen) smoothly combines with the aimlessness of his day to accord the story a tone with an exceptionally youthful edge. Having worked cooperatively with Grant’s kin on the project, accusations of taking a biased point of view are sure to come Coogler’s way. Whoever Oscar Grant truly was, he didn’t deserve to die.

The script gives a touch of humanity back to a person whose character was assassinated by some media outlets during the trial of the responsible officer. Fruitvale Station doesn’t overly concentrate on the horrific way in which he died but more pointedly on how eagerly he greeted a second chance at life and what is ultimately lost when we regard others as inherently without value because of their past or what they look like. Violent deaths pass through our lives every day by way of statistics and coldly reported news stories. Rarely do we get intimate knowledge about what an individual fatality means to a family, dear friends, and a neighborhood. (Edgar Chaput)

Available on Tubi, YouTube, Google Play, Vudu, Amazon Prime, iTunes | Trailer

Get Out

In the great annals of horror movie history, there are plenty of examples of backward, racist Southerners being used to amp up the terror in otherwise unremarkable places like small towns or nice Suburban neighborhoods. Get Out seeks to utilize this same strategy, but in a different way. By making the racist bad guys liberals who genuinely think they’re doing a service to the black community, Get Out supplants the idea that racism only exists on the right — or in the South — and forces wearers of the “Good Guy Badge” to take a closer look at their reflection.

With stand-out performances from Daniel Kaluuya (Black Mirror), Allison Williams (Girls), and Catherine Keener (Being John Malkovich), Get Out is a surprisingly tight suspense-thriller that ratchets up the tension with great success throughout the entirety of its swift run time.

From Jordan Peele of all people (best known for his sketch comedy series, co-created with Keegan-Michael Key), a film like Get Out is a genuine surprise, and one that has been welcomed by audiences and critics almost unanimously. These kinds of new takes on racism as a plot device — and the place of the horror canon in general — are just what the genre needs every few years to remind folks that there’s still new ground waiting to be uncovered in this well-worn world of recurring horror tropes. (Mike Worby)

Available on Amazon Prime, Netflix, YouTube | Trailer

The Glass Shield

In 1978, a UCLA film student named Charles Burnett finished his master’s thesis while directing a micro-budget black-and-white feature film titled The Killer of Sheep. You may have heard of it since it has since been deemed one of the greatest American films ever made. As years went by, Charles Burnett directed a few more great films such as To Sleep with Anger (which is sadly, an often neglected semi-masterpiece of African-American cinema)— and The Glass Shield, a compelling look at racism amongst a predominantly white L.A. police force. Unfortunately, like most of his work, The Glass Shield never found a large audience which is a shame since it is also, incidentally, one of the best movies of 1994.

While the story itself is the stuff of a straightforward potboiler, The Glass Shield is nonetheless, rich and rewarding due to how it maintains Burnett’s sensitivity to the inner workings of the black American family and community. If you’re looking for an enjoyable police thriller that just so happens to also tackle themes of discrimination in the police force, look no further. The performances by Ice Cube and Michael Ironside alone, make it worth watching. (Ricky D)

Available on YouTube, Amazon Prime, Vudu, Google Play, iTunes | Trailer


Gook would make a great double bill with LA 92. Set in Los Angeles, Gook takes place over the course of a single day: April 29, 1992, the first day of the L.A. riots that occurred in the wake of the exoneration of the white police officer alleged to have beaten Rodney King.

This spellbinding second feature from writer-director Justin Chon uses the riots as a backdrop to tell the story of an unlikely relationship that develops during turbulent political times. The film, which won the Audience Award at Sundance, does a particularly good job of exploring racism and bigotry in both the African American and Korean communities without even casting judgement on either side.

Gook is one of the most overlooked films released in 2017. It features gorgeous black and white cinematography by Ante Cheng that gives a shaky, realistic view of this West Coast metropolis and great performances from the entire cast. Imagine a cross between Spike Lee’s Do the Right Thing and Kevin Smith’s Clerks! (Ricky D)

Available on Amazon Prime | Trailer

The Hate U Give

Based on the New York Times best-selling novel, The Hate U Give is an emotional, and powerful film about modern racial tensions in America. The film follows 16-year-old Starr Carter, a young black girl, living in a mostly black neighborhood, attending a mostly white private school. One night, after gunshots disperse a local house party, Starr is forced to flee with her best friend Khalil as they drive towards safety. After they’re pulled over by the police for seemingly no reason, the officer shoots Khalil after mistaking his hairbrush for a weapon. Witnessing the whole incident, Starr decides to use her voice to raise awareness, calling for justice for her best friend. 

In an early scene, Starr’s father makes his entire family recite the Black Panther’s Ten-Point Program, detailing in one point that, “We want an immediate end to POLICE BRUTALITY and MURDER of black people.” Meanwhile, Starr’s Uncle is a police officer himself. Some of Starr’s best friends are white, but not all of her friends are sensitive to the pain and frustration she is going through. The film does well to show how tragedy and injustice can affect different parts of a community. 

The Hate U Give was a timely film when released in 2018, and it is even more relevant now. Although it is fiction, it’s based on the tragedies we see today and offers a realistic and fearless look at how people, especially in black communities, are affected by it. The Hate U Give deserves your attention now more than ever and is a reminder that positive, powerful voices are imperative to create positive, powerful change. (Andrew Haverty)

Available on HBO GO and HBO Now | Trailer

I Am Not Your Negro

The 2016 documentary I Am Not Your Negro, envisions James Baldwin’s unfinished manuscript Remember This House, a collection of notes and letters written by Baldwin in the mid-1970s recounting the lives of his close friends and civil rights leaders Malcolm X, Martin Luther King Jr., and Medgar Evers.

Directed by Raoul Peck and narrated by actor Samuel L. Jackson, the film explores the history of racism in the United States through Baldwin’s reminiscences of civil rights leaders as well as the revered writer’s own personal observations of American history.

I Am Not Your Negro is nothing short of a brilliant and a sobering reminder of how far we’ve yet to go. You would be hard-pressed to find a movie that speaks to the present Black Lives Matter movement with greater clarity and understanding. (Ricky D)

Available on Youtube, Google Play, Vudu, Amazon Prime, iTunes | Trailer

If Beale Street Could Talk

James Baldwin’s non-fiction writing has seen a resurgence in popularity in recent years as new readers have found his assessments of racism and race relations in America to be shockingly accurate in their pessimism. His fiction work hasn’t fared as well, though his novels are beginning to attract similar attention. In Barry Jenkins’ adaptation of Baldwin’s 1974 novel If Beale Street Could Talk, he uses the writer’s delicate phrases and overwhelming emotions to craft an achingly tender story of lovers torn apart by hatred.

Kiki Layne and Stephan James star as Tish and Fonny, former childhood friends who have developed an unshakeable romantic bond. But just as they’ve begun to explore their new lives as adults and lovers, their idyll is torn apart when a vengeful racist cop frames Fonny for a rape he couldn’t have committed — because he was with Tish the whole time. As she tries to muster the resources for a lawyer and the courage to continue defending him while he sits behind bars, she also deals with the knowledge that she’s expecting his child.

Jenkins’ adaptation underscores the arbitrariness and hopelessness of so many African Americans’ experiences with the law. Fonny is framed for the rape because he had the temerity to embarrass a white police officer and expose his racism. When a woman is raped, despite being off duty, he’s able to convince her to ID Fonny for the crime. When Tish’s mother (Regina King, in an Oscar-winning performance) flies to Puerto Rico to find the victim after she flees New York, she learns that the woman is too afraid of the police to ever admit she lied and free Fonny. Because of a simple twist of fate, Fonny finds himself in jail and torn apart from his future wife and child.

Many of the scenes use Baldwin’s words verbatim, and Jenkins and his cinematographer James Laxton create a visual language that mirrors the silky richness of Baldwin’s language. Using a digital camera intended to replicate the colors and clarity of 65 mm film stock, the two create lustrous scenes bathed in elegant colors, like the deep reds and yellows that Tish wears. Jenkins frames many of the conversations with the actors talking directly to the camera, which adds a sense of intimacy. The achingly beautiful photography is gorgeous to behold, but it also makes their fate so much more heartbreaking, because we’ve already seen how beautiful their love is. (Brian Marks)

Available on Netflix | Trailer

LA 92

Twenty-five years after the verdict in the Rodney King trial, filmmakers T.J. Martin and Daniel Lindsay (who previously both won Oscars for directing the feature-length documentary Undefeated)— chronicled L.A.’s heightened racial tensions following the Rodney King trial, in their 2017 Emmy-winning documentary titled, LA 92.

The 2017 American film about the 1992 Los Angeles riots looks at the events from a multitude of vantage points using rarely seen archival footage of the Rodney King beating as well as the riots and violence that erupted after. In addition, the film also includes footage from the 1965 Watts Riots; the 1973 election of Tom Bradley; the 1978 promotion of Daryl Gates and the shooting of Latasha Harlins to give further historical context to the racial injustice black men and women have continuously faced in America. Intercut with this footage is snippets from news broadcasts, soundbites from politicians, on-the-ground interviews during the unrest, and public pronouncements by victim Rodney King, the acquitted police officers, and many other key figures involved in the trial.

While the film is entirely created in the editing room (there is not one second of new footage to be found here), the approach is actually quite fitting since King’s beating was captured on camcorder while the scenes of looting, violence, and disorder that followed, were all documented by the media for the world to see. LA 92 is, if anything, a superb slice of history and essential viewing for anyone either too young to remember when King was severely beaten by LAPD officers who used excessive force before taking him into custody.

I cannot recommend it enough— it’s a truly powerful film and edited together with rigorous precision. (Ricky D)

Available on Netflix | Trailer

Special Mention: Law and Order (1969)

Frederick Wiseman burst out of the gate with his first film, Titicut Follies, which documented the inhumanities inmates at an asylum for the criminally insane were subjected to. After a diversion to a late ‘60s high school in his second film, Wiseman turned his eye to the legal system with his third Direct Cinema documentary, Law and Order (1969). The film is an ensemble piece following multiple police officers as they respond to calls, from the most mundane events to serious crimes. As was his usual shooting routine, Wiseman accompanied his subjects for multiple weeks.

It’s impossible to watch the film without realizing the racial disparities that crop up on screen. There’s a stark difference in quality between the White and Black neighborhoods that the police patrol, and despite the city having many Black citizens, the police force is almost completely White. There’s a brutality in the white officers’ interactions with Black suspects that simply isn’t there with the White people they encounter. When a young Black man who’s under 18 is caught trying to steal cars, we see he’s bloody and battered by the time Wiseman (who operated the camera) gets a good enough view. Later, the arresting officer’s joke about the apprehension and one notes that he let the man’s angry neighbors beat him before stepping in to make the arrest.

Later, there’s a horrifying scene in which a plainclothes vice cop breaks down a door to find a Black prostitute, whom he begins to strangle with one arm. The woman’s tongue pops out grotesquely, and she gurgles in a way that we never hear in movies because actors pretending to be strangled are never actually struggling for air. Even more chilling is the cop’s demeanor as he squeezes the life out of the woman; he has an almost gleeful look on his face.

“Go ahead, resist,” he says, as the life drains from her face. “I’ll choke you ‘til you can’t breathe.” Of course, she’s not resisting at all, just trying to stay alive. After a painful amount of time, he lets go, and she gasps for air. Wiseman’s film includes a wealth of interactions with police, and many of them are positive. But for Kansas City’s Black residents, every run-in with the law contains the distinct possibility that not only will the police try to harm them, but they’ll actively relish the opportunity. (Brian Marks)

Available on Kanopy | Trailer

Let the Fire Burn

In 1985, a confrontation occurred in a West Philadelphia neighborhood between the Philadelphia police and an activist group that called itself MOVE. By the conclusion of the incident, a “fire” had broken out that destroyed several blocks’ worth of residential homes. Eleven people died.

These are the facts of the incident, but the city of Philadelphia had to set up a massive commission and investigation to uncover the reasons why. Every moment of the commission’s public hearings was videotaped for posterity, but it was not until now that the entire video archive of the incident could be collected by George Washington University. Director Jason Osder has turned that footage into a film titled Let The Fire Burn, and other directors will be hard-pressed to produce a better documentary about the subject than this.

It might be said that Let The Fire Burn is a victory of editing rather than filmmaking; after all, no original footage was shot by Osder. But the proper director’s eye is still required to edit that footage into a working documentary, and the proper director’s judgment of his audience is required to present an account as unbiased as this one is. This documentary is neither pro-MOVE nor anti-police as much as it is a servant of the public trust, and it uses nothing other than publicly available video to show how that trust was violated. (Simon Howell)

Available on Amazon | Trailer

Malcolm X

Writer-director Spike Lee’s epic portrayal of the life and times of the slain civil rights leader Malcolm X plays surprisingly safe but is nevertheless an insightful and well-rounded portrait of the influential Black Nationalist leader.

The film dramatizes key events in Malcolm X’s life: his criminal career, his incarceration, his conversion to Islam, his ministry as a member of the Nation of Islam and his later falling out with the organization, his marriage to Betty X, his pilgrimage to Mecca and reevaluation of his views concerning whites, and his assassination on February 21, 1965. The film also includes defining childhood incidents, including his father’s death, his mother’s mental illness, and his experiences with racism, all dramatized in flashbacks.

Malcolm X may be a bit long, but it’s also one of Spike Lee’s best films, and is anchored by a powerful performance from Denzel Washington worth the price of admission alone. Essential viewing for anyone who doesn’t know much about the man except his name. (Ricky D)

Available on Netflix, YouTube, iTunes, Google Play, Vudu, Amazon Prime | Trailer


Winner of the 2017 Best Picture, Barry Jenkins’ Moonlight explores the intersection between two minority classes in our society: black people and those in the LGBT community.

Focusing on a boy named Chiron at three different times in his life, Moonlight shows how he first discovers his sexuality, explores it briefly, then hides it beneath layers of socially acceptable machismo and a manufactured tough guy persona. However, as he finds himself catching up with a bisexual boy from his youth, Chiron may have one last chance to reveal his true self to the world.

A gripping and heartbreaking look at life in the hood, Moonlight shows several different elements of the struggle of poor black Americans, with poverty, drug use, and abuse all taking their time in the limelight. At its heart, though, Moonlight is a simple tale of a young man looking for his place in the world while he struggles with his identity as both a black man and a gay man. (Mike Worby)

Available on Netflix, Amazon Prime | Trailer

The Murder of Fred Hampton

The documentary comes courtesy Chicago native Howard Alk who made a name for himself in the ’60s and ’70s as a documentary cinematographer, editor, and director. His debut feature, American Revolution 2 (codirected by Mike Gray) looked at the Black Panther Party in Chicago; this follow-up, is about the short life and death of Fred Hampton, a young African-American civil rights activist in Chicago and leader of the Illinois Black Panther Party. During the film’s production, Hampton was fatally shot on December 4, 1969 in a pre-dawn raid at his apartment by the Chicago Police Department.

Fred Hampton’s death became the first truly high-profile case of police brutality in American history because of how handheld cameras enabled Alk and his film crew to expose the lies behind the Chicago Police Department’s narrative.

The documentary is split into two parts: the first part is an early portrait of Fred Hampton that documents his activities in organizing the Chapter, his public speeches, and the programs he founded for children and the second half of the film draws on the techniques of investigative journalism to help uncover exactly what happened that December morning in 1969 when Hampton was shot dead by the police. (Ricky D)

Available on Amazon Prime, Films for Action | Trailer


Another brilliant piece of work from Ava Duvernay, Selma charts the historic marches from Selma to Montgomery which took place in 1965. Led by Martin Luther King Jr, this movement saw thousands of black Americans marching in protest in order to bring change to deliberately racist voter registration acts meant to keep black people from voting in their own country.

Anchored by David Oyelowo’s brilliant performance as Dr. King and Duvernay’s on-point direction, Selma gives viewers an in-depth look at this important time in American history, a time where black Americans stood up against the government, the police and the system, under the threat of indignation and violence around every corner.

Their courage would eventually lead to President Lyndon B. Johnson speaking on their behalf before congress and a final march for freedom that would change the framework of the United States forever. An inspirational tale of bravery and heroism among a united group of the disenfranchised, Selma is a film that absolutely needs to be seen. (Mike Worby)

Available on YouTube, Google Play, Vudu, Amazon Prime, iTunes | Trailer


Slam, the stunning debut feature from director Marc Levin, stars Saul Williams as Raymond Joshua, a young rapper in Washington D.C. who is arrested on a petty drug charge and is swallowed up by the capital’s criminal justice system. He says he’s innocent, but he’s advised by his public defender to cop a plea so that he could get two to three years in prison instead of up to ten.

What makes Slam such a triumph is how it serves as both an examination of how black men are unfairly treated in America and at the same time, provides a glimpse of the world of competitive poetry slams.

There’s a lot to love here, from the electronic score by D.J. Spooky to the electrifying performances from the cast to the documentary-style cinematography. It’s easy to see why it won the top prize at the Sundance Film Festival— Slam is a terrific film and as Williams said, it feel more like a movement than an actual movie. (Ricky D)

Available on YouTube | Trailer

The Visitor

Heartbreaking and inspiring, Tom McCarthy’s The Visitor demonstrates just how important we can be to each other while simultaneously reminding us just how broken and inhumane our bureaucracy is – even when it is supposedly functioning properly.

Taking place in a bruised, post-9/11 New York, The Visitor tells the story of Walter Vale: a widowed college professor coasting through life. He returns to his apartment in New York, a second home he has not visited in a long time, to find an immigrant couple living there. Duped by an acquaintance, Tarek and Zainab – the couple – believe the apartment is vacant. The resulting confrontation resonates with the verisimilitude of an insightful metaphor. Tarek and Zainab were just living their life until, suddenly, a middle-aged white man comes to say their property is actually his.

Thankfully, Walter lets them stay. The film that then unfolds is deeply moving as the audience watches these serendipitous house guests bring meaning to Walter’s life. It may sound cliched, but the film transcends with sincere empathy. The characters feel like real people and each is given the space to express complex emotions. Zainab, exquisitely played by Danai Gurira, is especially powerful. Despite living a life surrounded by loved ones, she never seems at home. She loves the city, the people, and her life but she feels like an unwanted guest waiting to be kicked out. Her twitchy mannerisms and wayward glances are devastating. She’s a loving, caring woman so afraid of being noticed she cannot even comfortably be herself.

The Visitor has a unique perspective as well since it is so mundane: nothing extreme occurs. There is no violence, no hateful racists, just a cold bureaucracy. Given Tarek and Zaineb’s illegal standing problems arise and the resulting conflict is heartbreaking but not because anything out of the ordinary happens. The system operates as it should and it’s still horrible. We watch as soul-healing relationships get torn apart because of an inhuman system that lacks empathy and nuance. Obviously, there are no easy answers, but the need cries out.

During this period of profound reflection, The Visitor shows us why the status quo must change: it keeps us away from another and, thus, hurts everyone. (Nicholas Straub)

Available on Amazon Prime | Trailer

Whose Streets?

From Magilla Pictures, Whose Streets? is an unflinching look at the Ferguson, Missouri uprising and the civil unrest that erupted after the killing of unarmed teenager Michael Brown by police officers who left his body lying in the street for hours.

Whose Streets? is not an easy watch, nor should it be. Debuting feature directors Sabaah Folayan and Damon Davis’ documentary is an on-the-ground snapshot of the anger and activism that ensued with images of looting, fires, and peaceful protests greeted by officers in full riot gear. There are sequences with officers arrayed in gas masks and guns mounted atop armored vehicles, often with furiously deadly “K9 units” pulling at the leash. Tear gas, rubber bullets, tanks, and other combat-level tactics not infrequently followed, and then, the governor called in the National Guard. In other words, Whose Streets? looks similar to the footage of the protests that followed the killing of George Floyd.

Told from the perspective of activists, artists, and residents, Whose Streets? is an important and powerful documentary that tries to understand why innocent black people continue to die at the hands of corrupt cops in what is supposed to be the land of the free. (Ricky D) 

Available on Hulu, Amazon Prime, YouTube, Google, Vudu | Trailer


Black Lives Matter

Written By

Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *



‘Trigger Warning’ Review: Supersoldier Jessica Alba Wages War on Domestic Criminals in Slick but Contrived Melodrama


Tony Lo Bianco Cause of Death: The French Connection Actor Passes on at 87!


Kate Bosworth and Justin Long Relationship Timeline: How Long Have They Been Married? 


Willie Mays Cause of Death: How Did the Baseball Legend and Hall of Famer Die?


Marc Summers and Alice Filous 50th Anniversary! Celebrating 50 Decades of Love!


Ian McKellen Hospitalized After Stage Fall: Ian Fell During Performance in London!


Who Is Henry Cavill’s Girlfriend? Discover the Wife of a Famous British Actor!


Who Is Molly Ringwald’s Husband? Panio Gianopoulos Love for the American Actress! 


Quavo Joined by Vice President Kamala Harris at Anti-Gun Violence Event Declaring ‘Takeoff Day’ in Atlanta


Ariana DeBose Tony Awards Entourage: Sings and Dances for During Tony Awards 2024 Kick-off!


Jude Law’s Children: How Many Children Does the Famous English Actor Have?


‘The Boys’ to End With Season 5 on Amazon


Celine Dion Cries at N.Y.C Documentary Premiere: Dion Receives Standing Ovation, Thanks Her Children!


Tory Lanez and Raina Chassagne Divorce: Raina Chassagne Files Suit After Husband’s 10-Year Prison Sentence!


Who Is Anthony Michael Hall’s Wife? The Truth About the Famous American Actor’s Wife!


Celine Dion Took Potentially Fatal Dosages of Valium to Cope With Symptoms of Stiff Person Syndrome: ‘I Did Not Know Honestly That It Could Kill Me’