The majority of the characters in Trespassers weren’t ones I wanted to spend that much time with, and other than Sarah I had to look long and hard to find anything approaching a redeeming quality in just about any of them.

By the time Tarantino played fast and loose with history and ramped up his masculine Los Angeles fairy tale to bloodily gruesome new heights, Once Upon a Time…in Hollywood had pretty much lost me, and I suddenly realized this was one bit of loopy pulp fiction I could have done without.

The Art of Self-Defense is a strange little comedy I couldn’t have disliked even if I had wanted to try to do so, Stearns’ latest a gleeful bit of martial arts rebellion I’m excited to see again.

The Farewell is one of the best films of 2019. Heck, it might even be one of the best of the entire decade.

None of it mattered to me, and while I wanted to shrug my shoulders and whisper inaudibly, “Hakuna Matata,” as the end credits began their scrawl, the truth of the matter is that I felt no love for this The Lion King remake, it’s overall storytelling mediocrity a circle of never-ending disappointment I couldn’t wait to be finished with.

Crawl is an unpretentious creature-feature from The Hills Have Eyes and High Tension filmmaker Alexandre Aja that’s every bit of gnarly fun as its ludicrous premise makes one hope it is going to be.

Stuber is a fun little trip into the ridiculous, and while I’m not about to give this cinematic rideshare a five-star rating, it seems to me three out of four should be more than adequate.

Anchored by a superb performance from comedian, author, podcaster and essayist Maron and featuring wonderful supporting works by all three of his primary costars, especially a delightfully anarchic Watkins, Sword of Trust is a fast-paced O. Henry meets Mark Twain meets Tom Wolfe-like absurdist lark that sent me out of the theatre smiling.

There is a lot to unpack where it comes to Midsommar, and a lot of it is definitely, a defiantly, worthy of additional dissection and debate.