Mazeppa 

Netflix’s new comedy drama, Don’t Say Good Luck, is a heartwarming tearjerker as well as a love letter to the transformative power of being a theater kid. Directed by Julia Hart, Don’t Say Good Luck follows Sophie (Sunny Sandler), a theater kid who finally gets the lead role in her school’s production of Waitress - just as she finds out her mom Elizabeth (Melanie Lynskey) is dying of cancer. While the singing is by no means spectacular and Sandler’s acting is stiff, the film is grounded in the moving performance of Lynskey as a mother who wants nothing more than for her daughter to achieve her dreams, even if she can’t be there to see them.

What happens to an inseparable bond when love for competing morphs into competing for love?

Knives Out doesn’t just defy the whodunit narrative, it uses the weaknesses to its advantage. It’s well aware of the genre’s faults and tropes

The height of subversive horror cinema is Jennifer’s Body. No, I will never budge on that. Yes, Cabin in The Woods is funny, Scream is very well made, and the Scary Movie franchise is …. there. But nothing is quite as satisfying as watching the teenage succubus that is Jennifer Check rip apart boys. In the post #metoo era where the industry is far from changed, watching revenge flicks like these is probably one of the most cathartic experiences due to the slow-moving progress being made.

Hitchcock is no stranger to innuendo, as was common in that era, but there was something so sophisticated about his approach to 'Rope', and it starts in the first frame.

The second episode of the highly anticipated Afrofuturism series delivers with a high-speed race teaching us to go far beyond just accepting ourselves.