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.

The fun of Spider-Man: Far from Home is watching the younger members of its cast agreeably interact with one another, and if the actual heroic parts of the tale could have generated maybe a third of that same intoxicating ebullience maybe I’d have found this latest MCU effort to be a bit more memorable.

It’s been an interesting experiment, revisiting my Top 50 Films 2000-2009. If nothing else, doing this solidifies in my mind the thesis that opinions about cinema, about any artistic endeavor, are not set in stone. That they are destined to change over time.

Langseth lays her story out with a caring specificity that kept me wanting to learn where things would go next, and for my part I found the character-driven honesty of Euphoria difficult to resist.

Wild Rose is a universally aspirational story of retaining one’s individuality in the face of societal roadblocks that prefer conformity and the status quo over anything unique, its songs of faith, family and friendship worth singling along with.

The last third of Yesterday is an ineffectual slog that wastes the talents of its stars, and as breezy, inoffensively enjoyable and as adorably light as so much of this was to suddenly hear it hit so many sour notes was undeniably disappointing, my emotions gently weeping the more I keep thinking about it.

As much as I enjoyed that second adventure with the evil titular doll, Annabelle Comes Home is such a massive amount of sinister fun it might be my favorite entry in The Conjuring universe outside of the first film.

These were my selections for my favorite films of 2000-2009 slots 20 thru 11 along with the original blurbs I wrote for each of them in January of 2010. As I have stated before, these thoughts I had a decade ago happily remain mostly unchanged.

There are moments Child’s Play feels like the Jackson Pollock painting of modern-day horror remakes, and I can’t help but imagine Klevberg and Smith throwing general ideas, plot developments and various character interactions at a blank canvas as if they were swatches of paint.