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.

The Dark and the Wicked isn’t a piece of light and fluffy horror entertainment. There are no rainbows here, Bryan Bertino’s latest more than living up to its title as being both agonizingly dark and paralyzingly wicked.

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.

Collateral has held up brilliantly. A great film at the time of its release, Michael Mann’s seductively unsettling crime thriller has to my mind emerged as one of the the 21st century’s best pieces of pop entertainment.

The Wolf of Snow Hollow has continued to grow on me. I had a marvelous time revisiting the film on Blu-ray, Jim Cummings’ small snowy town character study masquerading as a supernatural horror movie bringing a great big smile to my face.

News of the World is a robust, beautifully shot drama, and while little unexpected transpires, the characters are so richly drawn and their travels so wonderfully realized that honestly isn’t much of a problem.