El picnic de los Campanelli 

As an extremely avid fan of DC’s animation, I’ve become familiar with the way the studio uses Batman as a bit of a Trojan Horse to introduce some of their lesser known characters.

White audiences saw Peola’s mixed-race passing as a Black woman’s struggle to be white. Black audiences saw it as the rebellion of a Black woman trying to gain privileges only given to white people.

“Reboot” can be crass and has much room to improve, but with investments of time and care, could flower out of the seed of a vision. 

"WHAT ARE YOU WILLING TO SACRIFICE?!!!!" "EVERYTHING!!!!!" This is but one of a multitude of highly emphatic questions, and subsequent answers, being asked in the newest feature film from one of the current masters of horror, Jordan Peele ("Get Out", "Us" and "Nope"). I must give Peele credit in that he continues to push the boundaries of specific genres and their associated tropes in order to provide what ends up amounting to subtly then jarringly intense, yet still character and story-driven, cinema that speaks more to indie stylings than mainstream.

Those saying it's a bad movie simply because it's bad as a slasher should be reminded that the likes of Jordan and Alexandra often don’t get their tales told, let alone in such major releases helmed by veteran actors like Bacon.

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.