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.

There is a breathless sonic majesty to Darius Marder’s superb Sound of Metal that left me a discombobulated mess long after the drama had ended.

Happiest Season is a comfortingly romantic present almost guaranteed to bring its recipient joy, and all things considered in a year overflowing with humbug this small gift of holiday cheer is more than enough to satisfy.

V for Vendetta plays a little differently in 2020 than it did in 2006, that’s for certain.

Let Him Go is a quiet meditation on grief, forgiveness, regret and family that managed to leave something of a noticeable impression, tragedy, joy, misery and sacrifice all melding into one, powerfully impactful emotional response richly deserving of a few empathetic tears.

I enjoyed what Lister-Jones accomplishes with The Craft: Legacy even if not everything she conjures up successfully manifests. There’s magic being performed by this quartet of young witches, and here’s my hope that the target audience is there to bear witness.

His House is something special, the line between forgiveness and punishment an ethereal enigma that’s as haunting as it is imperceptible.

Rebecca left me wanting more, this emotionally flaccid retelling of one of literature’s greatest gothic romances a frustrating waste of time.

Sorkin’s latest directorial offering The Trial of the Chicago 7 is timely, engaging and undeniably thought-provoking. It is also spectacularly acted across the board.