Gasoline Alley (1951)

After years of silence, trauma, and backlash, Rose McGowan tells her own story in this miniseries.

In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.

“Nobody 2” is the kind of sequel you expect to roll your eyes at—and then end up grinning through the whole thing. Bob Odenkirk proves once again that an ordinary-looking guy can be the most entertaining action hero alive, battling cartels with harpoons, deep fryers, and pure chaos. Toss in Sharon Stone as a delightfully over-the-top villain, and you’ve got 89 minutes of wild, joyful mayhem that reminds you why going to the movies is just plain fun.

Dead Poets Society relies on patriarchal tropes such as overbearing fathers, contrived brotherhood, and faux-individuality in order to portray its straight white male characters as oppressed.

Stevan Lee Mraovitch’s film is a beautiful tribute to family, found family, and the lengths people will go to support their loved ones.

For the entirety of Raiders of the Lost Ark, Marion remains in full control of both her body and her personality, a rarity for female characters at the time of the film’s release. She’s granted depth with personal demons from her past and emotional vulnerability when the situation deems it appropriate for her to grow alongside Indy. She avidly rejects the notion of being anything other than a sassy, humane rebel, and Indy’s equal in every way. This she does while still maintaining her femininity.