Il Trittico – Opéra national de Paris 

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 makings of a great midseason filler episode that would connect in many different directions. This is a police drama filler with a guest director.

The cancelling of these series is being blamed on the writers' strike and low viewership, but it's just the latest example of the industry's lack of appreciation for stories about queer women.

We’ve always known that Edgar Wright is a mixologist when it comes to blending sound, light, colour, and texture. This is especially true in the first act of the film. In fact, all of my positive feedback is directed exclusively at the first act of this film.

This is a movie that combines a ghost story, revenge tale, and serial killer obsession into a cinematic experience that uses your fears against you.