Skyfire is a fast-paced disaster yarn overflowing in narrow escapes, sudden deaths and an overabundance of visual pyrotechnics.

Kirby’s magnificence alone makes Pieces of a Woman worthy of a look.

Shadow in the Cloud was a surprisingly enjoyable flight of monstrous fancy that helped me start the year off with a happy smile.

Fennell has delivered a gut-wrenching, must-see work of infuriated genius, and as painful as portions of Promising Young Woman were for me to experience, I’d happily go through the trauma of additional viewings as soon as the opportunity to do so arises.

If The Midnight Sky doesn’t shine as bright as maybe it could have, there was just enough sparkle to put a happy twinkle in my eye, and even with a noted absence of fuel Clooney’s latest still achieves emotionally cathartic liftoff.

Monster Hunter is exactly what you think it is going to be, nothing more, and certainly nothing less, and I’m okay with that.

Soul ends on the perfect note, its last moments overflowing in voluminous human insights so melodious I could happily hum its climactic tune for a lifetime and likely never grow tired of hearing it.

Wonder Woman 1984 is an ambitious adventure, one that exuberantly galivants between Themyscira, Washington, DC, the Middle East and an isolated top-secret military satellite station with breakneck enthusiasm.

If Roland Emmerich’s outlandishly overblown 2009 hit 2012 and Roar Uthaug’s 2015 critical darling The Wave got together and had a baby, it would probably look a lot like Ric Roman Waugh’s goofy-if-grounded Gerard Butler disaster epic Greenland.