1883: The Road West (2022)

If the message here is that without a support system, grieving people turn into monsters, it’s not really well-delivered and may be flawed as a message itself.

It’s dark, uncomfortable, and there are things that don’t make sense.

Ultimately, Wicked is a story about the cost of being othered, the pain of being misnamed, and the quiet revolution of standing in your truth.

The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.

What can I say about this Will Ferrell/Julia Louis-Dreyfus-led “dramedy?” Well, the comedy part of Downhill is completely non-existent. And I should have known that the film was a flop when I walked into an empty theater at a prime time on a Friday night.

This modern update of the beloved classic swaps Cyrano's signature pronounced nose for achondroplasia, for a different vision that still retains the original's essence.