“Onslaught” is Insensitive, to Say the Least
Between its problematic nature, its lack of originality, and the senselessness of its violence, Onslaught cannot be recommended in good faith.

Jessika, a precocious teenage girl with loving parents and a good-natured older sister, is the center of a slightly eccentric family. A series of small events disrupts their delicately balanced ecosystem. Jessika's father loses his job and becomes bored and despondent, while Jessika's mother reenters the workforce and becomes empowered. These events act as catalysts for the slow, painful disintegration of the family, with each member committing shocking acts of alienation and self-destruction. Desperately wanting her family but at the same time desiring her adolescent independence, Jessika struggles to find the best way to restore a balance.
Between its problematic nature, its lack of originality, and the senselessness of its violence, Onslaught cannot be recommended in good faith.
Who knew a drunken game of truth or dare could launch one of the most chaotic rom-coms of the year? The Threesome takes Connor’s fantasy night with Olivia (Zoey Deutch, in peak queen-of-indie form) and Jenny (Ruby Cruz) and flips it into a deliciously messy nightmare when both women end up pregnant. What follows isn’t cheap comedy—it’s a whip-smart, heartfelt exploration of love, consequence, and the beautiful disasters we call adulthood.
The most divisive character in Multiverse of Madness is undoubtedly Wanda Maximoff. Is she good or evil? Is she "unlikeable?" I'm tired of the debate. I love Wanda because she's for us—she's for the women.
In a world where we hear ringers and beepers at every corner, technology feels inescapable. This is why technology is often an enemy in Digital J-horrors, like One Missed Call.
This Transgender Day of Remembrance, let us take a look at six films about transgender children grappling with their identity in a heteronormative world that despises their kind and tries its best to invalidate their feelings.
One of THE most frustrating trends in the mainstream film industry over the last several decades has been the onset of comedy efforts that seem SO focused on being crude and/or gross-out in all ways possible. That, at least for me, makes them no longer funny.