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.

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.

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.

Murphy’s joy in slapping me silly for every second of The Prom’s laborious 130 minutes was more than I could take, this laudably inclusive LGBTQ high school musical a celebratory dance I’d rather not have been invited to attend.

Songbird pushes buttons that feel ugly and inappropriate, all of which makes giving the film any sort of fair assessment difficult to do.

The Stand In moves through the motions with a plodding laboriousness that grows increasingly irritating, and almost all of the supporting players are never around long enough to make anything more than a passing impression.

Mank is nothing more than a metaphorical celluloid sled of failed dreams and misguided ambition burning to ash in a fiery furnace fueled by frustratingly combustible emptiness.