Elf (2003) is a Christmas classic, join Rosie as she takes you through her thoughts as to whether it really is a seasonal keeper.

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This week it's Stardust (2007) Rosie's talking alternative casts, camp pirates and Neil Gaiman. Again, there are tonnes of spoilers so be careful... 

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Rosie brings another film to the table this week and be prepared for hot takes on love, Richard Curtis and 90s fashion. After a Julia Roberts and Curtis phase colliding, it seems like Rosie isn't fooled by the charms anymore but she's digging deep. Is there still some light at the end of the tunnel?

The second installment in the TWO EPISODE WEEK is Moulin Rouge! (2001). It's crazy, it's a cinematic experience but Rosie is here, once again, to play devil's advocate. Yes, this film celebrates 'love', but is it a good or a bad kind?  

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This week Rosie is back with another Tim Burton classic, Edward Scissorhands (1990). With the Gothic association in aesthetics there is also allusions to Gothic literature and she doesn't hesitate to talk all about the film's similarity to Mary Shelley's Frankenstein. 

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In honor of Halloween Rosie takes on more unnerving territory with James Wan's 2013 film, The Conjuring. She discusses what it's all about (SPOILERS), peak moments which somehow connect to Stranger Things and how this film goes down the 'Monstrous Feminine' road once again.

Continuing the Halloween theme, Rosie explores the legacy of the legend of Sleepy Hollow and how Tim Burton added some creative licence and some serious Gothic-ness to the well-known tale.

Jennifer's Body famously received flop status when it debuted in 2009. This week Rosie appreciates the film delving into the reasons why it is so misunderstood by the wrong audience.

The Others (2001) is so Gothic, so chilling and just beautiful. Rosie goes all out with religious metaphor and discussing the power of truth. There are SPOILERS so tread carefully

This week it's Coraline (2009) a childhood classic that is definitely on the creepier side. Rosie delves in and discusses themes of gender as well as her own fascination with this film