Passing tells the story of Irene who runs into Clare, a long-lost friend. After spending time with Clare, Irene’s life becomes all the more difficult. Why you may ask? Read and see as Teresa tells us if it’s #pass or #watch.

Any sane parent could say that they want the best for their children. The same can be said for Richard Williams, parent to legends Serena and Venus Williams. Teresa takes a swing at a review of King Richard before it hits theaters.

What do you find scary? Is it the fictional, unimaginably horrifying things that could never happen? Or is it the things you can see being turned upside down? Welcome to the Blumhouse, where their world could be the scariest thing of all.

What if you could relive any memory? Teresa weighs in on if Lisa Joy’s Reminiscence is worth remembering, or just a faded memory she wishes to forget.

Almost five years after Suicide Squad was released, a soft reboot of the film was created. Teresa takes a dive into why the second film is a step above its predecessor.

Teresa Beamon swings by to talk about the highs and lows of the newest installment in the well-worn “assassin on the run” genre, Gunpowder Milkshake. Was it right on target? Or was it yet another misfire?

MMH’s resident R.L. Stine fan Teresa is here with a review of the newest adaptation of the acclaimed horror author’s works, Netflix’s Fear Street trilogy, a collection of films she describes as a perfect adult-geared evolution of the Goosebumps series that scared the pants out of all of us as kids!

Fatherhood is a lot like Kevin Hart at the beginning of the movie: trying to be a good single father and making a ton of mistakes. Teresa reflects on everything that doesn’t work about the film while appreciating it for Hart’s heartfelt performance and its depiction of the challenges and triumphs of single parenting.

Apocalyptic movies are on the rise, with many choosing to hinge their plot on an essential human capability being hindered. In the case of Netflix’s Awake, the world is no longer able to sleep–unfortunately for the film, it was a snoozefest.

“What do you see when you look at me?” That is the overarching question driving the 2018 film Monster (released wide via Netflix on May 7th of this year). Though we live in a society that tries to justify right and wrong, it often can be a grey area–at least that’s how it appears to be for Steve Harmon, a 17-year-old on trial for a robbery gone wrong, which he claims he did not take part in. Through its depictions of the criminal justice system and Harmon’s experience within it, Monster leaves us with yet another question: do we find Steve innocent or guilty?