The good news is that watching Enola run around Victorian London solving crimes, getting into trouble with Tewksbury, and in general making a fiercely independent feminist nuisance of herself remains a great deal of fun.

The Banshees of Inisherin is unquestionably one of the year’s best films.

Black Adam is a super-powered misfire.

Ticket to Paradise is more staycation than vacation, and as such it is equally as memorable.

Feig’s film is nowhere near as fully realized or as creatively satisfying as I kept hoping it was going to be, making The School for Good and Evil a mixed bag of magic tricks.

Dark Glasses is a satisfying return to form for Argento, this nifty little retro Giallo slasher a tasty October treat worth savoring.

The climax of Halloween Ends is pure, unabashed, blood-soaked nonsense, culminating in that full-throttle showdown that’s been 44 years in the making and promised in the sequel’s title.

Hellraiser understands that suffering isn’t a black-or-white emotion. It resides in the gray areas of the human psychological condition, and is as vital for healing and survival as friendship, companionship, or even love.

Terrifier 2 is exhausting. Leone’s sequel wore me out, it’s objectionably devious nastiness too extreme even for me.