Alles Paletti 

'Yuri!!! on Ice' turned queerbaiting on its head and gave me hope when I needed it the most.

Curry Barker’s film, Obsession, soars in success this past May leaving everyone who has watched it in extreme chills and disturbance. And taking it to new levels of why men are always the root of horror films even when they try not to be.

When you first hear that there is a series on Netflix where the lead character’s wife dies from cancer and he becomes dangerously suicidal, you wouldn’t immediately assume that it’s a comedy.

This current year, as well as the past several, has seen a slowly building increase in something the horror genre has required for quite a while in this critic's opinion...originality. I've stated before that I am very hard to please when it comes to this vein of the film industry's offerings, always leaning more towards that which sends chills through my very being in lieu of buckets of blood and gore.

In all actuality, “Just Mercy” should be labeled a “wall punching narrative.” Constantly, the flick throws high forms of adversity our way, amping up our most inner levels of discomfort. Filmmaker Destin Daniel Cretton wonderfully paces the film in such a way that replicates the slow-burn nature of justice.

One thing’s for certain: Holmes has star power. We may not be able to see everything, but we’re certainly all watching.