Cheaters (2000)

Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.

It’s 2021 and what few LGBTQ+ films that are produced by major film studios continue to star cisgender heterosexual actors, rather than actual LGBTQ+ people.

There were too many irrelevant parts that could have been shortened, and too many characters that didn't advance the plot. Either way, some things didn't add up. This was just another played out plot with little, if any, originality in it. By the end of the film, I wasn't happy that she finally got her freedom, I was happy that it was finally over.

A Christmas tale that everyone is wishing for, and that everyone will remember.

Can a piece of bad representation truly be reclaimed? We Are Pat (2025) attempts to answer this question.

2026 ranks highest in Oscars history for its representation of minorities in all categories, and that’s definitely something to be celebrated.