Luke Skywalker, Gay Icon: Part 1
Star Wars is better if you believe that Luke Skywalker is gay. You can't change my mind.

Serbian crime drama focusing on Belgrade's violent criminal underworld. Obituary For Escobar distinguishes itself from other recent crime dramas with its strong visual style and energetic approach. Borko was a young effeminate boy bullied at school by the self-styled 'Ghandi'. Years on, Ghandi is now a warlord, wrecking mayhem in pursuit of his ambition to become the leading drug lord in the Balkans. His execution of the rival 'Serbian Escobar' coincides with the mysterious placement of an obituary for the real Escobar by two stoners. In Ghandi's pursuit of the assailants he meets Lela, a stunning mystery woman who leads Ghandi to reconsider both "Borko" and his life in crime.
Star Wars is better if you believe that Luke Skywalker is gay. You can't change my mind.
So with the recent (rightful) public apologies to Britney from comedians and media for trashing her image in the 2000s, perhaps some people should also give Crossroads the fair chance it deserves. It won't be everyone's cup of tea, and that is fine. Personally, I will take my girl Britney and her movie, over the next testosterone "Dude Flick" any day.
The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.
Joker is a compelling, character-driven, psychological tale that has a message behind the madness.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.