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Lin-Manuel Miranda's Tony-winning musical translates beautifully to the screen.

It is not hard to make a musical biopic that pleases audiences and draws a profit.  Michael is no exception. 

It only seems to prove that when the company had their backs against the wall and needed an all pleasing, generic movie that had to make up for The Last Jedi, they chose to sacrifice almost everything that made their main protagonist interesting and that made her stand out as the strong female character that a generation of young movie goers was supposed to look up to. Instead, we were left with a Rey that was so much less than she could have been. And I guess that’s the real story of Rey and The Rise of Skywalker; they could have been so much more, but they were just more of the same.

Every movement becomes a question of identity. To become who we are meant to be. In order to reach that we often have to shed who we once were, and that shedding can sometimes be so brutal it’s ungraceful.

To say Hollywood has had a troubled past is the understatement of the century. In Ryan Murphy’s (American Horror Story) new Netflix series, Hollywood, that past is confronted and even rewritten.

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.