Charles Gounod: Roméo et Juliette - Opernhaus Zürich 

'The Patient' is bound by four walls and a mediocre ending that leaves you wanting more.

Set in a future dystopian United States in which water is running out, Julia Hart’s Fast Color (2018) is a refreshingly different take on the superhero film.

Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.

The external threat invaded the domestic environment at the most valuable moment: grieving.

Films and TV series often tend to misrepresent or not acknowledge bisexual characters, but recent trends show that bi-erasure is now under deserved scrutiny. So, I’m genuinely happy about the direction bi-representation seems to be taking.

We are incredibly blessed that this movie is available for us to see, and we should take advantage of the opportunity we’ve been given.