Ivy and Bean form a new Friendship
Two young girls meet in the same neighborhood unexpectedly as they embark on a new adventure using their imaginations as this movie brings strong representation among women.

Mukhtaran Mai was an ordinary woman living in a small village in Pakistan until her extraordinary courage turned an ugly incident into international news and made her a role model for women in the Middle East. Mukhtaran's younger brother became involved with a girl from a neighboring village, and when tribal leaders learned of the boy's indiscretion, they decided both he and his family should be punished. While the boy was beaten and sexually assaulted by men from the neighboring tribe, they didn't stop there -- they also gang raped Mukhtaran, with the complicity of her father and uncle. Under such circumstances, most Muslim women in Pakistan are expected to kill themselves to separate themselves from the shame the assault places on their families, but Mukhtaran refused to do so -- she reported the crime to the police and insisted that the men who attacked her be brought to justice, including a holy man who was involved in the rape.
Two young girls meet in the same neighborhood unexpectedly as they embark on a new adventure using their imaginations as this movie brings strong representation among women.
Nick Rowland’s She Rides Shotgun is a blistering, blood-soaked road thriller that doubles as a bruised love story between a haunted ex-con (a career-best Taron Egerton) and the daughter he barely knows (astonishing newcomer Ana Sophia Heger). Fueled by white-knuckle chases, razor-tense shootouts, and quiet moments of aching tenderness, the film captures both the terror and fragile beauty of survival. It’s gritty, heartbreaking, and unforgettable—a father-daughter odyssey destined to leave audiences shaken.
Overall, “Dark Fate” is a run-of-the-mill flick. Together, Reyes and Davis have excellent chemistry, but their characters’ story is nothing new, lacking surprise and deep emotion. During the middle points, the film drags considerably, and when the action hits, it feels consistently tight, eliminating the rhythm and fluidity of conflicts.
True crime media is notoriously obsessed with the “missing white woman” trope, and yet the vast majority of American murder victims are male, and well over half are people of color.
It doesn’t offer an absolute answer for the dialectical ethical questions that emerged in search of justice but portrays the characters as living people beyond the identities of victims.