Morbius isn’t a bad movie. It also isn’t a particularly memorable one.

If Terrence Malick ever decided to dip his toe into horror, I’m guessing it would look a lot like Stolevski’s feature-length debut You Won’t Be Alone.

I was never able to let myself go and enjoy all this loopy jungle madness, The Lost City coming across as too mechanically forgettable for my tastes.

X is a gnarly, sexually provocative thriller that juxtaposes youthful upheaval against the inevitable ravages of old age, all of it showcased with tongue firmly in cheek and middle finger proudly unfurled.

Instead of taking the easy way out, the aftereffects of tragedy and loss are allowed to linger in ways atypical for genre fair like this, granting The Adam Project an extra layer of empathetic hopefulness that’s lovely.

Turning Red is a miracle of storytelling genius. It will be one of the best films of 2022. Heck, it may turn out to be one of the best I’ve seen the remainder of this decade.

There is something triumphant about Reeves’ The Batman, and I do like where the film leaves the character before the screen fades to black. But so many aspects don’t come together, each refusing to resonate no matter how much I wished otherwise.

The Burning Sea is a white-knuckle tale of people doing the incredible against impossible odds.

Studio 666 is an unwieldy, mostly unfunny hodgepodge of tired horror conceits and winking, self-indulgent humor that ends up making next to no lasting impression whatsoever.