Trust Nobody (2021)

Tarantino's alternative history of the 1960's uncritically repeats the era's sexist and racist stereotypes.

The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.

When the retelling of the Cinderella fairy tale and a holiday spirit come together, viewers learn about class issues as well as perseverance despite setbacks.

Shudder’s Host (not a particularly original title, I must say) attempts to bring the spooks to “the quarantine generation” by presenting us with a scary Zoom call during lockdown.

This MiamisFF Review is on the short film 'Rewind Thirty'. Created and released in the United States, this short film has an unclear message.

The most divisive character in Multiverse of Madness is undoubtedly Wanda Maximoff. Is she good or evil? Is she "unlikeable?" I'm tired of the debate. I love Wanda because she's for us—she's for the women.