WCCW Christmas Star Wars '81 (1981)

"WHAT ARE YOU WILLING TO SACRIFICE?!!!!" "EVERYTHING!!!!!" This is but one of a multitude of highly emphatic questions, and subsequent answers, being asked in the newest feature film from one of the current masters of horror, Jordan Peele ("Get Out", "Us" and "Nope"). I must give Peele credit in that he continues to push the boundaries of specific genres and their associated tropes in order to provide what ends up amounting to subtly then jarringly intense, yet still character and story-driven, cinema that speaks more to indie stylings than mainstream.

The film's Incluvie rating is off the charts. It features Black, Muslim, queer, trans humans whose moms hold them up, fight for them, and love them for who they are...making anything possible.

When it comes the horror genre, I am VERY hard to please or impress, much less scare. Coming from a current mindset of appreciation for chilling, unsettling, tension-inducing efforts such as "Hereditary", "The Conjuring" (ONLY the first one to date, mind you), "Lights Out", "The Babadook", "Midsommar", "Talk To Me", "Oddity", "Bring Her Back", and the like

Turning Red' has received hate for being 'unrelatable' while dealing with one of the most human experiences. Despite the Turning Red controversy that it's unrelatable, it is yet another Pixar classic that will inevitably stand the test of time.

It’s been awhile since I’ve seen a film that is jarring within the first five minutes. Being at the edge of my seat from the very beginning made me feel both excited and frightened for what was to come, and it did not disappoint. Led strongly by Jennifer Lawrence as Grace, a woman trapped in the “American dream”, this film shows that society tells us what should make us happy. Many critics describe Die My Love as being about post-partem depression, but it is so much more. After moving to a secluded home with her husband Jackson, Grace finds herself in the throes of motherhood. Feeling isolated in her physical environment and her romantic relationship, Grace suffers psychologically. Lawrence brings a sense of rawness and humor to the screen that is often uncomfortable. Robert Pattinson adds to the discomfort as her loving, yet lost husband Jackson, who cares about his wife but does not know how to help her. Lynne Ramsay has presented a film that forces us to look at the realness of life, and what happens when the promise of what should make you whole fails.

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.