Crénom 

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.

Intergenerational friendships and community can be so powerful, and this was a great example.

For many people, Disney+’s debut show, The Mandalorian, was a breath of fresh air for the Star Wars universe. The Disney Gallery shows audiences how that show came to be.

The major flaw of the series is that it’s hosted on Netflix and barely makes malicious comments about it despite being focused on the lives of people directly affected by the Capitalist mentality of the OTT corporation.

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.

Why did Māhū, a term once respected in Hawaiian culture, become so controversial?