Abbott and Costello Meet the Keystone Kops (1955)

The height of subversive horror cinema is Jennifer’s Body. No, I will never budge on that. Yes, Cabin in The Woods is funny, Scream is very well made, and the Scary Movie franchise is …. there. But nothing is quite as satisfying as watching the teenage succubus that is Jennifer Check rip apart boys. In the post #metoo era where the industry is far from changed, watching revenge flicks like these is probably one of the most cathartic experiences due to the slow-moving progress being made.

The film exhibits a respect for the craft and an empathy for human tribulations that have historically been ignored.

The quiet ache of guilt sitting at the dinner table, the silence after a truth is buried, and the way pain is passed down like a name.

Our protagonists perform as the opposite gender while still preserving the parts of their personalities that makes themselves who they are.

In Paul Feig’s newest comedy, Last Christmas, Katarina (Emilia Clarke) didn’t give a heart, she got a heart, you see.

I’m still trying to comprehend the psychological and moral implications of their fascination with each other, or why their almost written-in-the-stars depth of connection makes so much sense.