Wanda Maximoff: The Hero We Deserve, Not The Villain We Need
If the message here is that without a support system, grieving people turn into monsters, it’s not really well-delivered and may be flawed as a message itself.

Television film version of Lee Hall's award-winning radio play. Spoonface is seven years old, Jewish, autistic - and terminally ill with cancer. As she tries to come to terms with the meaning of life and death, she draws inspiration from the prisoners in the Nazi concentration camps who died with dignity and their spirit unbowed.
If the message here is that without a support system, grieving people turn into monsters, it’s not really well-delivered and may be flawed as a message itself.
Being made after the death of Chadwick Boseman will be a hard but exciting ride for this Marvel entry.
This coming-of-age musical features a strong representation of LGBTQ+ individuals coming-of-age.
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.
Gay representation is out there, but to portray a character who's gay as a big, happy brute is a rare treat.
From its visually stunning opening credits, which show women dancing through a forest to musical rhythms that sound almost primal, to its quiet, heartbreaking final frame, Mona Fastvold’s historical rendering of the Shaker religious movement is an experience that will stay with me for a long time.