Until the Lights Come Back 

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.

A consumed-by-rage woman travels from universe to universe to avenge the death of her daughter by brutally killing her murderer over and over again. And that's all that she does.

Amanda Riley gets the opportunity to travel to Vietnam for the experience of a lifetime.

The Mandolorian has a more nuanced and commentative take on masculinity that refrains from praising the toxic traits associated with the social category, while also showing a more positive and transformative representation of masculine characters.

The idea of Rosemary's baby but with lesbian partners drew me in, and I was anticipating what the film had in store with its reimagining. Unfortunately, it all felt a little too vague to leave an impact.