Princess Cut (2021)

Malignant is a roller coaster ride of slow-build scares, moments of wonderfully absurd camp, and explorations of autonomy.

Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.

When you think of the horror genre, the LGBTQ+ community is probably one of the last things you think of. However, horror is much more queer-coded than you may think.

I highly recommend Kill Bill: Volume 2. In classic Tarantino fashion, specific sections of the film are a tad too long, but overall, it’s a wonderful piece of escapist fiction.

Love, Simon (2018) based on the book “Simon vs The Homo Sapiens Agenda” (by Becky Albertalli) is a teen LGBTQ+ rom-com with themes of longing to find others with similar struggles, and ultimately is a story of acceptance of identity from those around you, and most importantly, from yourself.

Not only does the system prevent upward mobility, but it makes it incredibly easy to slide from comfortably middle class to unhoused.