As gruesomely hysterical as much of Glorious may be, the foundation of toxic masculinity it’s built upon is anything but silly, McKendry giving it the brutally grisly evisceration it deserves.

The worst thing I can think to say about any killer shark movie is that it has no personality, but that’s the situation here, Maneater a flesh-eating nightmare of aquatic monotony.

Jurassic World Dominion is dumb without the fun, and that just makes me sad.

Jack Palance and Martin Landau gleefully ham it up, and there’s a nifty plot twist at roughly the two-thirds mark that’s moderately surprising, but otherwise Without Warning is one of those low-budget 1980s oddities that never fully delivers on its promise.

If Terrence Malick ever decided to dip his toe into horror, I’m guessing it would look a lot like Stolevski’s feature-length debut You Won’t Be Alone.

I’m not going to lie and say that Screams of a Winter Night is some long, lost horror anthology classic. It isn’t. But the film has so much go-for-broke, let’s-put-on-a-show charm that it’s not a huge deal that a lot of this doesn’t end up working particularly well.

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.

The Old Ways is an inherently human story, grounded in the perception and heritage of its protagonists.

Werewolves Within is likely going to make my 2021 top ten list. It’s great.