The Police War 

Gretel & Hansel falters due to its razor thin story and lack of characterization. It loses sight of horror’s key rule: In order to create an effective tale, characters and emotions must be emphasized.

The cancelling of these series is being blamed on the writers' strike and low viewership, but it's just the latest example of the industry's lack of appreciation for stories about queer women.

In Paul Feig’s newest comedy, Last Christmas, Katarina (Emilia Clarke) didn’t give a heart, she got a heart, you see.

A quiet film that does not demand your tears but earns them. It explores love that lingers, timing that fails, and the silence between what was and what could have been.

Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.