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.

In 1857, Mary McLean leaves her sweetheart in the Scottish Highlands to teach school in India, where her father is a missionary. In India, the new Sepoy leader, Nana Sahib, sends his agent Azimooah to appeal to Queen Victoria to restore the pension given during his father's reign, but the Queen refuses because Nana Sahib is an adopted son. The infuriated Sepoys attack an English town and capture Mary and her father. After Nana Sahib adds Mary to his harem, she pretends to like him to learn information about his plans, which she passes on to British officers when she escapes.
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.
Emily and Stephanie are back... just add gin and drama.
Documented human suffering is never easy to view or read about and is understandably triggering for many people, but it can be educational, and education is a key to change. An overwhelming amount queer people worldwide (and in my own country) have it far worse than I could imagine, and documentaries such as Welcome to Chechnya bring issues to light that certain groups of people would never see.
A story of a magical dragon brings great representation for Chinese culture.
Naked Gun: The New Police Squad Team delivers exactly what fans want: relentless, expertly crafted chaos that honors the original while cranking everything up to eleven. The gags fire at machine-gun pace—sight jokes layered with wordplay and physical comedy so outrageous it borders on art. It's gleefully self-aware without being cynical, silly without being stupid, and maintains that perfect ZAZ-style balance of treating absolute absurdity with complete seriousness. The film knows exactly what it is: a comedy missile designed for maximum laughs, and it hits its target with surgical precision. Pure, unhinged entertainment that proves spoof comedy still has plenty of life left in it.
For the most part, 'Sweet Girl' recycles tired hyper masculine revenge tropes, but a surprise twist in the end turns it into a female-centric revenge film.