It’s a recurring theme on this show where the women talk negatively about their own marriage’s to Heavenly but get mad when Heavenly repeats what they said. Not naming any names Contessa, Simone, and Toya I’m not #Married2Med
It’s me and my wife’s 1yr anniversary today!
We decided to give y’all a record we love called #LookAtMe
Support it now at Even.Biz
Even if it’s $2 🤣🤣
even.biz/r/the-benjamin…
Album Review for #Routine16 by @montycbenjamin
*Slow clap of approval* now this is how you BAR NIGGAS UP!!! This guy might be unknown to you, but he needs to be in your playlist. As someone who is very skeptical when it comes to reviewing albums from people who reach out to me, every once in a while I find a hidden gem. This album is definitely it.
Now with these tracks you’re getting someone who has substance, excellent wordplay, a nice pen and some dope flows. That’s really all you can ask for with a rapper. Now the project could use a little touch here in there with certain beat choices or certain mixes but those are all minor things that don’t dampen the listening experience.
One thing about this brother, you can tell he’s hungry. He’s got a mission. The music feels passionate and purposeful and that’s really all you need. This is an album worth a listen, so check the link out below to listen.
untitled.stream/library/projec…
Final Score: 8/10
Don’t complain to me about the state of Hollywood, don’t lecture me about recycled IP, and don’t fucking talk to me about the future of show business if you aren’t seeing Sinners (🌟🌟🌟🌟) in theaters, god damn it. Sinners is further proof that Ryan Coogler is a generational director. Like so many people my age, I’ve wondered for years who will be the directors that I grow old with- who will be the directors that I spend 40 years visiting at the theater & who speak uniquely to my generation. After seeing Sinners, I think it’s safe to say one of those directors is so clearly Ryan Coogler. Coogler is 38 years old. He now represents a new era- a new time- in Cinema. And with Sinners, Coogler gives my generation something we desperately need: originality.
Sinners is the story of two twin brothers, Smoke & Stack, each played by Michael B. Jordan, who return to the Mississippi Delta to open a juke joint after working for Al Capone in Chicago. The story’s events all take place within a 24 hour period, as we follow the brothers as they return back to the Delta, round-up of old friends & family, and eventually open their juke joint that same night. The conflict or tension here arises when a bunch of weird, “aw shucks” white folk show up unannounced to the juke joint’s opening and all hell breaks loose.
Those reading this review should be warned that Sinners is in fact a slow burn. Coogler takes his time here, especially in the first half of the film. But that’s a creative decision I enjoyed. Coogler purposely trots along the first 45 minutes of this film because he wants to cloak the audience in early ‘30s Mississippi. The reason I like this decision is because Coogler busts out all the filmmaking tricks you can imagine to immerse us in a different time & place. This is a beautiful film, of which so many shots feel straight out of a painting. The technical aspects of Sinners could not be better. That’s why I enjoyed watching the brothers round up their crew to prepare for opening night.
But the last half of this movie is where you’ll find the real excitement. I think as the story turns from the brothers returning to the Delta and moves toward the opening of the juke joint, the pace picks up & things get wild. Specifically, there’s a breathtaking sequence about halfway through this film where Coogler takes the audience through a cultural odyssey of music, from blues through rock, all the way up to hip hop. It’s an insanely awesome piece of filmmaking and an absolute “moment”. And you guys know how strongly I believe movies are moments. This moment/journey through music is the bridge to the back half of this film, which is where we see real gore, real violence, and real bullets.
The final 20 minutes of this film is the best 20 minutes I’ve seen in 2025. This is where Coogler lets loose & shows his real creativity as a director. The editing, music, and camera-work in the final 20 minutes is breathtaking. Coogler achieves all of this with his ultimate muse- Michael B. Jordan. I don’t love Michael B. Jordan as much as others, but I thought this was a strong outing from Jordan, particularly elevated by the final 20 minutes of which I speak. The final 20 minutes is Coogler’s conclusory statement to a broad, beautiful thesis on Black grief, Black freedom, and America’s racial history. Like so many of my favorite directors like Bong Joon-Ho or Martin Scorsese, Coogler is able to send a message & deliver social commentary while still entertaining. I think that’s all anyone can ask for when they pay money to see a film like Sinners.
Lastly, a word on Delroy Lindo. Delroy Lindo is one of the best actors alive. If you disagree, you’re wrong. He was utterly, shamefully, horrendously robbed of an Oscar nomination for Spike Lee’s Da 5 Bloods, and this is one of the first roles I’ve seen Lindo take since Bloods. I cannot stress this enough: Lindo is exceptional. He steals every line, every scene, every everything. He is acting royalty and we should not take him for granted. Tip of the cap to Coogler for getting a living legend to join such a tremendous project.
The future of Cinema is bright as hell & it features Ryan Coogler.
YALL THEY ARE TRYING TO DEFUND LIBRARIES AND MUSEUMS😭😭😭
IF YOU’RE IN OHIO, WE MIGHT HAVE A CHANCE TO DO SOMETHING ABOUT IT
#yourstory" target="_blank" rel="nofollow noopener">chpl.org/blogs/post/don…
Today me and @arkanebeats bet on ourselves and put a project out with only a 24 hr notice.
We also took a chance and sold it directly from us to y’all.
We’re on our 10th sale and it hasn’t been a full day. God is AMAZING.
#Routine16 📝 available at montycbenjamin.com