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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.

The fun tricks used in the production design and lighting read extremely well on-screen but hardly fulfill their purpose of trying to inject glamour into a lack-luster story with nothing to say. 

Eddington attempts to capture how media is intertwined with the uncomfortable present.

Even with its straightforward premise, “Richard Jewell” is ramped up by exceptional drama. In all honesty, the performances are out of this world. As Jewell, Paul Walter Hauser becomes a walking representation of gullibility. His bumbling antics create the perfect hero, and very quickly, we feel the societal heat that surrounds our protagonists.

The Owl House has swiftly become one of Disney’s beloved cartoon series.

Even without the messaging, Mercy does not hold up as a movie. It's sloppily done and the mystery doesn’t tie together at the end.