Cage knocks it out of the park, making The Unbearable Weight of Massive Talent a triumphant culmination of a career that’s hopefully far from over.

While not nearly as fresh as its predecessor, this second helping of blood-splattered dystopian craziness is still a decent bit of fun.

I was never able to let myself go and enjoy all this loopy jungle madness, The Lost City coming across as too mechanically forgettable for my tastes.

Instead of taking the easy way out, the aftereffects of tragedy and loss are allowed to linger in ways atypical for genre fair like this, granting The Adam Project an extra layer of empathetic hopefulness that’s lovely.

Turning Red is a miracle of storytelling genius. It will be one of the best films of 2022. Heck, it may turn out to be one of the best I’ve seen the remainder of this decade.

Studio 666 is an unwieldy, mostly unfunny hodgepodge of tired horror conceits and winking, self-indulgent humor that ends up making next to no lasting impression whatsoever.

I was captivated from start to finish, and if I could have watched Marry Me again from the beginning the moment after it had concluded I would have done so.

Is this a great motion picture? No. Of course not. Did watching it make me happy? Yes, to an almost impossible to describe degree.

Superhost is a lot of fun primarily thanks to Gracie Gillam’s effervescently larger-than-life performance overflowing in unhinged villainy.