Marakkar: Lion of the Arabian Sea 

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.

Diana’s spirit has taken off, ‘No right, no wrong, no rules for me.’ And in that moment, as she runs on the screen, she gets it, her ‘Let It Go’ moment.

Ruben Östlund muses about his characters, “As soon as you get close to a person, you see them as just another human being”. It is widely recognized that aboard the luxury yacht in ‘Triangle of Sadness’, the different groups of people represent a small society as a commentary on classism and gender binaries.

Fire Island is the more inclusive film of the two with the bi-phobic definition of pansexuality in The Thing About Harry and its obvious lack of colour on screen

'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.

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.