WrestleMania IX: Becoming a Spectacle is WWE-produced nostalgia candy—slick, celebratory and a peek behind the curtain of the ultimate wrestling soap opera

Jason Reitman’s Saturday Night isn’t just a nostalgia trip; it’s a chaotic, behind-the-scenes sprint through the hours leading up to that very first live show that changed comedy—and late-night TV—forever.

If Harold and Maude wandered into a contemporary synagogue and bumped into a Jewish grief-comedy, you’d land somewhere near Between the Temples.

Flow is easily one of the most unexpected and quietly powerful animated films I’ve seen in a long time. Sure, it’s a little rough around the edges—but that rawness? That’s exactly what makes it so mesmerizing.

Anora is a film that thrives not so much on its plot but on its ability to sidestep clichés. The "sex worker with a heart of gold" trope has been explored before, but it's been a while since a newcomer like Mikey Madison has brought so much life to a role with such an unapologetic and authentic performance.

Dirty Rotten Scoundrels is a rare gem that balances intellectual wit with laugh-out-loud physical comedy. It still holds up just as well today as it did when I was eight—and that’s saying something.

Wallace & Gromit: Vengeance Most Fowl was cute and funny, but it didn’t hit quite like the earlier installments.

Waitress: The Musical serves up heart, humor and a whole lot of Sara Bareilles soul. I didn’t walk away humming the songs—but I did walk away smiling.

You’re Cordially Invited might actually be the plus-one you didn’t know you needed.

Waitress is a bittersweet slice of southern indie pie—equal parts charming, quirky and quietly heartbreaking.

The Substance demands—and seizes—your full attention, gripping you with its grotesque, shocking and undeniably unforgettable imagery.

Rewatched Waiting for Guffman and it’s still a hilarious, heartfelt classic. Christopher Guest’s small-town mockumentary magic never misses.

Emilia Pérez has an undeniably intriguing premise but manages to fumble nearly everything that could have made it great.

Conclave is my kind of movie: performance-driven, steeped in dialogue and cloaked in political and spiritual intrigue.

Nosferatu is a gorgeous, atmospheric and deeply unsettling film that will stick with you long after the credits roll. But much like the count himself, it lingers a little too long in the dark.

Rewatched Definitely, Maybe and it still feels like a heartfelt mystery-rom-com hybrid. Less comedy, more sincerity—but I loved the cast and the "How I Met Your Mother"-style structure.

If you’re into claustrophobic thrillers with a dash of wit and don’t mind a few over-the-top moments, Carry-On is worth the trip.

It Ends with Us was exactly what I thought it would be—but just a little better. Think: elevated melodrama with a glossy sheen

Sometimes you go into a movie with zero expectations—and walk out… pleasantly surprised? That was the case with Mufasa: The Lion King.

The Family Stone ends up being one of those movies I respect for its intent, but don’t quite understand its lasting holiday glow.