How to Make a Misogynistic Movie and Call it Feminist
"Ladies First" has a fundamental misunderstanding of what's feminine because of the patriarchy and what women do because they genuinely enjoy it.

A documentary follows two park rangers as they investigate an abandoned vehicle deep in the remote forest. Their search leads to unsettling objects and a strange young man with no memory of who he is or how he got there. As day turns into night the rangers find themselves ensnared in a growing analog nightmare—one that is controlled by the all seeing Dark Watchers.
"Ladies First" has a fundamental misunderstanding of what's feminine because of the patriarchy and what women do because they genuinely enjoy it.
Friendships are tested when two girls have a crush on the popular boy at school.
A pop star at Radio City Music Hall gets the opportunity to change herself to save her music career.
A throwback to the last months of the 20th century in this comedy film.
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.
After We Collided is a sequel to last year’s After, which itself was based on Anna Todd’s 2014 novel of the same name, and which was originally published as a Harry Styles-centric fan-fiction on WattPad (a similar path as E.L. James’ Fifty Shades of Grey series).