With the 21st century world revolving around the it, people are becoming gradually more and more dependent on the internet, and it isn't without consequences. Derek and Cindy's marriage is on the rocks as he struggles to curb his online gambling habits and she enters into an extramarital affair with a stranger on a social networking site. Unfortunately, their secrets are forcibly uncovered when they realise that money is going missing from their accounts, due to an alarming case of identity fraud. Elsewhere, a teenaged social outcast is delighted when a girl online becomes seemingly interested in him leading him to send her some intimate pictures on her request. However, when the pictures show up around school, he is devastated to learn that he has been the victim of a cruel joke at the hands of a cyber-bully who created a fake account. Meanwhile, an ambitious journalist is curious to learn about young teenagers being intimate via webcam with strangers and sets out to get the scoop on the shocking practise despite ruining lives on the way.
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That says something about how hip-hop evolves as a genre - it's not Fitzgerald's fault that the genre he loves best moves so fast, and getting an indie documentary finished on a shoestring can be a lengthy process. But you wouldn't notice how dated the film feels if it didn't have more serious organizational problems. Freestyle mainly wants to be a documentary about the history and mechanics of freestyling, but its loose-limbed, impressionistic structure too often makes the film drift away from the point. Freestyle bounces from interviews with members of early-'70s Beat-poet-styled hip-hop pioneers the Last Poets to brief (and unconvincing) attempts to tether freestyling to Baptist church preachers and John Coltrane's improvisations. Brief interludes about the history of early hip-hop in the Bronx, female rappers, and the mainstream rap industry take on worthy subjects, but they draw energy away from the subject at hand.
Continue reading: Freestyle: The Art Of Rhyme Review
The NBC series ended a decade ago, but Will, Grace, Karen and Jack haven't changed a bit.
The album is Williams’ first release since 2013’s ‘Swings Both Ways’.
There's already an Oscars buzz surrounding this movie.