Degrassi Goes Hollywood (2009)

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.

As Sexual Assault Awareness Month comes to an end, I’d like to urge viewers and filmmakers to take a long and hard look at how rape is portrayed on screen.

I highly recommend Kill Bill: Volume 2. In classic Tarantino fashion, specific sections of the film are a tad too long, but overall, it’s a wonderful piece of escapist fiction.

Twisting what seems to be obvious setups and frameworks is what sets the story structure of Squid Game apart. I appreciate that this narrative is complex but not complicated; an easy enough plot to wrap your head around while still treating the audience like an equal participant in this social commentary

‘Candyman’ (2021) builds upon the original 1992 film by presenting the myth of Candyman not only as an example of black pain, but as an opportunity for black vengeance.