Homerun 

Coralie Fargeat once said that “Being a woman is body horror,” and when you think about the ways we are taught to experience our own bodies, it becomes almost impossible to argue with her.

Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.

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.

While Mortals Sleep is enthralling quick-fix horror that offers thrills and excitement with such a short runtime and left me truly impressed with all levels of filmmaking.

Amberley Snyder, a young woman whose injury leaves her with a disability, shows viewers that her handicapped state won't stop her from competition.

I’m disappointed in The Woman in Cabin 10, but that’s at least in part because of my love of Ruth Ware’s novel.