The final moments of Elevator Game are a disaster.

A Haunting in Venice is cracking good fun.

Much like its 2018 predecessor, The Nun II plays out like an old-school horror effort from the 1960s, only this time a little less creatively imaginative and tonally unhinged.

The Portokalos clan’s purportedly final adventure (although I wouldn’t bet on that being true) is a tourist trap of emotional pabulum laid on as thick as freshly mixed tzatziki sauce.

Bottoms is a riotous assault on the status quo, making this Queer gem of revolutionary bedlam a sex-positive sensation that grabbed me by the jugular and refused to let go.

The primary reason the reasonably strong performances don’t elevate Gran Turismo to being worthwhile is that other than for a couple of noteworthy sequences (including one stunning crash), the racing sequences are not very good.

Blue Beetle has a distinctive creative voice that triumphantly needs to be heard.

Strays pawed its way into my heart, and I’m not even that much of a dog lover.

The Last Voyage of the Demeter is a great deal of insidious fun, and I have a sneaky suspicion that my fondness for it will only grow as I return to it again and again over the coming years.