In this densely narrated, chamber drama, three siblings are confronted with their tragic family history. The three meet again one summer's day to clear out and sell their childhood home. As they rummage through their belongings, one of the sisters finds a mysterious photo of a young man whose memory haunts her to this day. It seems to have been taken in front of the house on the day of his fatal accident. As she cannot remember ever having taken the picture, she bites into the research. At some point, she is certain that someone else must have been the photographer. Layer by layer, a past is revealed that holds a bitter truth.
Clearly, in the end, Allison raised a responsible child because she knew that her "friend" was doing something that made her uncomfortable and turned away from her. No worries, Super mom was already one step ahead of her.
Those perfect Summer or Fall days. The sun is shining, the temperature is JUST right, and you've got nothing else to do. Therefore, isn't it time to get outside and take a nice stroll through the park, or along the shoreline (should you be that fortunate), or even just around the neighborhood? Sure. BUT.....if one lives in the America found in the newest film adaptation of the work from horror author/cultural icon Stephen King.....doing this SHOULD be the LAST thing you hope to find yourself engaged with.
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.
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.
