Homeless Ashes 

Unknown Origins promises a cool spin on superheroes and serial killers, but ultimately delivers cheap comedy.

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.

I'm bad, and that's good. I will never be good, and that's not bad. There's no one I'd rather be than me.

It's chock full of dream-come-true moments for Spidey fans, but its lack of substance reeks of a self-indulgence that is rare even in fan fiction

Jordan Peele's turn to horror with "Get Out" isn't as unexpected as it may seem. He primed his fans for a disturbing and nuanced exploration of racism with his work on "Keanu" and "Key & Peele."

Netflix’s recent Millie Bobby Brown vehicle, Enola Holmes 3, is a disappointing and confusing entry in the stellar Enola Holmes franchise. Directed by Philip Barantini, the film stars Brown as Enola Holmes, estranged sister of Sherlock Holmes, Henry Cavill as Sherlock Holmes, and Louis Partridge as her love interest, Viscount Tewkesbury. While it deserves credit for its exciting action scenes and attempts to expand the diversity of its Dickensian setting, the most recent entry in the series completely scuttles Enola’s underdog status from the first films that made her so charming and gave a touch of realism to the story of a young, unmarried woman living in London while self-employed as a detective.