Writing Great Villains: Why They Shouldn't Be Sympathetic
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.

A first-person documentary which aims to investigate, within the director's dyke experience, the most diverse performances of masculinity, taking into account her last three relationships and also interviews with her father.
Writing great villains is about striking a balance between charming and evil, so we love them but also love to see them lose.
It's not love. It's Obsession. The hook of this movie is the tension between wanting to be loved and the fear of being all-encompassed by that love. It plays on men’s typical (though certainly not universal) inner-conflict
This remake of the Disney Channel Original Movie of the same name brings a strong representative cast.
I’m disappointed in The Woman in Cabin 10, but that’s at least in part because of my love of Ruth Ware’s novel.
The documentary depicts the indigenous people of Mexico with sublime reverence, highlighting a generational harmony with the land.
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.