Comeback 

‘Oppenheimer’ is a force to be reckoned with. A biopic that respects the audience’s intelligence.

In a post-Gamergate media landscape, it's ambitious to have a film confront the harsh reactions to women in gaming from a comedic lens.

When the world lost Chadwick Boseman on August 28, 2020, we all saw the impact of representation in film. Boseman was not only a Black superhero leading a Black cast in one of the most successful films in history; but his successes paved the way for more, long-overdue diversity in Hollywood.

A consumed-by-rage woman travels from universe to universe to avenge the death of her daughter by brutally killing her murderer over and over again. And that's all that she does.

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.

A young girl named Hailey Mays sings a country song that is named after the film's title.