Minotaur (2006)

The newest Pedro Almodóvar movie, Pain and Glory, focuses on an aging and debilitated filmmaker, Salvador Mallo (played by Antonio Banderas) reflecting on his life in his old age.

Stylish, slow, and somewhat standoffish, Human Resource examines corporate life from the perspective of a female HR employee as she interviews job candidates while also deciding whether to keep her newly discovered pregnancy.

Elio could be seen as fantastic piece of representation, showing lonely children who feel ostracized that they are not alone. That is, unless you look behind the curtain.

Disney’s Hunchback of Notre Dame is a unique film coming from the same studio that brought us The Little Mermaid and Aladdin. While it does have its silly moments to maintain Disney’s family-friendliness, it also carries themes that stick to audiences years after its release.

Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.

For the most part, 'Sweet Girl' recycles tired hyper masculine revenge tropes, but a surprise twist in the end turns it into a female-centric revenge film.