Star Wars Episode VIII: The Last Jedi. The Best Post-Disney Star Wars Film
I love The Last Jedi. I don’t think there has been a Star Wars movie in quite some time that brought something new, something fresh to the table.

Three homeless beach-dwellers hunt treasure with a metal detector in a seaside town to get by. When a missing-person reward surfaces, loyalty fractures among their surrogate family as a strange cult pulls the strings of their undoing.
I love The Last Jedi. I don’t think there has been a Star Wars movie in quite some time that brought something new, something fresh to the table.
This Disney+ movie is about a 12-year-old math genius who wants to become a rapper.
The “gay best friend”, an age-old trope, has been done in countless films and television series. Ranging from one-note (Sex and the City's Stanford and Mario) to nuanced (Unbreakable Kimmy Schmidt's Tituss), the gay best friend exists to support and advise the main protagonist, with their conflicts swept to the side.
If you mix religious rituals with dark mythology, the result will be effective, and the story powerful in 90% of the cases. That is exactly what happens at the beginning of The Vigil.
I first saw Dear Evan Hansen on the Broadway stage. Apparently, I was so blown away by the magic of theater that I didn’t pick up on the questionable dynamics. The story's clumsy handling in the movie brought those issues to light.
Disguised as a cosmic highway horror, Alexander Ullom’s It Ends is a beautiful, albeit terrifying, metaphor for learning that if you want to survive adulthood and become your own person, you have to learn to let people go.