Dr. Jekyll and Mr. Hyde (1920)

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.

Outer Banks (2020-) knows its audience: young adults in a country that can’t stop romanticizing good ole’ treasure hunts. Add a little of Riverdale’s (2017-) sex appeal, and no one can look away. Forty years after The Goonies (1985) America’s consciousness hasn’t strayed from the same tropes: treasure hunts, a vulnerable white male lead, and the whitewashing of a racially segregated setting.

Yeah, sure, the movie’s about Carnage. But it’s really about love. A love that defies all odds: the love between a man and his man-eating alien symbiote.

Monster's plot is built around Steve Harmon's false accessory to felony murder accusation, and the anxiety and desperation experienced by him during incarceration and the corresponding trial.

The fun tricks used in the production design and lighting read extremely well on-screen but hardly fulfill their purpose of trying to inject glamour into a lack-luster story with nothing to say. 

‘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.