Bittersweet 

The three themes of lessons learned from HBO Max's Station Eleven are the same as the pandemic: love, regret, and art.

Netflix’s new mystery thriller, The Marked Woman (released originally as La Desconocida), is confusing. More critically, though, it commits the worst mistake a movie can make: it’s boring. From Spanish director Gabe Ibáñez, the film squanders its premise at every turn, fills the story with unlikeable characters, and lacks emotional payoff.

Barry Jenkins' masterpiece holds up as the story of a lifetime centered on the intersection of Blackness and gay identity.

Movies also have the ability to make the audience think deeper about an issue that plagues society. "Blindspotting" does that without shying away from the intense reality of police brutality and racial discrimination.

Knives Out doesn’t just defy the whodunit narrative, it uses the weaknesses to its advantage. It’s well aware of the genre’s faults and tropes

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.