Pas de pain pas de gain 

Disney has cleverly managed to dance around the misdeeds of their past by scraping by with an insincere action that does very little to incite any long-lasting positive changes.

A commentary on the exploitation of the elderly fueld by the inherent greed of capitalism.

From the cinematography to the script to the acting, Sorry, Baby is undoubtedly one of the best films of the year.

Disney movies have taken a bit of a downward turn recently. How come?

Hustlers was meant to be a film about female empowerment. And it was, to a certain extent. I expected and wanted this to be a kickass and complex film of sexy women who use their confidence, skills, and wits towards a brilliant plan to get revenge on the Wall Street guys who wronged them.

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.