GO (2025)

The quiet ache of guilt sitting at the dinner table, the silence after a truth is buried, and the way pain is passed down like a name.

'Blonde' commits a relentless assault on the autonomy of Marilyn Monroe, reducing the icon to nothing more than a victim of the director's whims.

The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.

This current year, as well as the past several, has seen a slowly building increase in something the horror genre has required for quite a while in this critic's opinion...originality. I've stated before that I am very hard to please when it comes to this vein of the film industry's offerings, always leaning more towards that which sends chills through my very being in lieu of buckets of blood and gore.

'Easy A' is emblematic of a world that liked to sarcastically pretend it was progressive but wasn’t actually ready for that change, making it pretty anti-sex.