DEAD DOGS DON'T BARK 

American Fiction is a genuinely entertaining film with a few lessons.

Gretel & Hansel falters due to its razor thin story and lack of characterization. It loses sight of horror’s key rule: In order to create an effective tale, characters and emotions must be emphasized.

Nick Rowland’s She Rides Shotgun is a blistering, blood-soaked road thriller that doubles as a bruised love story between a haunted ex-con (a career-best Taron Egerton) and the daughter he barely knows (astonishing newcomer Ana Sophia Heger). Fueled by white-knuckle chases, razor-tense shootouts, and quiet moments of aching tenderness, the film captures both the terror and fragile beauty of survival. It’s gritty, heartbreaking, and unforgettable—a father-daughter odyssey destined to leave audiences shaken.

Dune has stunning visuals, a striking soundtrack, and great performances. But it has issues everywhere from its pacing, to its story, to its diverse representation.

For the most part, 'Sweet Girl' recycles tired hyper masculine revenge tropes, but a surprise twist in the end turns it into a female-centric revenge film.

The second season arrives over three years after its first. While late on arrival, most audience members will be happy.