The Other Man's Wife (1919)

Lady Bird (Saoirse Ronan) tells her mother (Laurie Metcalf) that she wants to live through something — something that matters.

Viewers get a glimpse of life of mediocrity in a world where humans and cartoon characters live together in this comeback.

What makes the lighting in Casablanca even more impressive is how it reflects the emotional states of the characters without needing explicit dialogue.

Our trilogy at Seabrook High School starts with a rivalry between zombies and humans who eventually come together.

You can’t talk to my grandpa about The Sopranos. You can’t talk to him about The Godfather either. Merely by bringing up the subject, you’d be treated to a lecture on how movies and TV want you to believe that all Italians are criminals and mobsters. He won’t watch any of it, in protest.

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.