The only clock I cared about while watching the movie was my internal one, Countdown wasting so much of my time I couldn’t wait for the counter to hit zero so I could exit the theatre and go do something else.

I admired a lot of what Krauss was attempting, and I certainly think his skills as a filmmaker are beyond reproach. But none of that means I also feel his debut The Kill List is essential, and even if this heinous historical event is worthy of exploration the director already did that back in 2013 with his stunning documentary. I can’t help but feel people should just watch that instead.

I walked out of the promo screening a little angry, disappointed that Taylor’s Black and Blue never lived up to the potential it so deftly showcased for much of its 108-minute running time.

The Lighthouse is one of 2019’s most uniquely satisfying creative endeavors, and even if I’m still not sure what the point of it all is I just as assuredly cannot wait to head back to the theatre and weigh anchor on a second viewing as soon as possible.

I had a great time watching Maleficent: Mistress of Evil come to such vibrant, colorfully intoxicating life, and as magic tricks go this is one moribund franchise I’m glad to say has risen from the ashes of its predecessor and found fiery new life as its own, captivatingly idiosyncratic animal.

Trick isn’t much of a Halloween treat, and like a sour apple stuffed with razor blades washing the bad taste of this one out of my mouth is going to be difficult to do.

Gemini Man is the type of high-concept idea that were a dime a dozen back in the 1990s.

Low Tide did just enough to keep me wanting to know what was going to happen next and to find out whether or not brothers Alan and Peter would be able to keep from drowning in the tumultuous sea of bad decisions they were swimming in.

Nichols knew how to hold my attention, Wrinkles the Clown a celebration of petrifying delights that had my guts twisted into unbreakable knots.