Harriet is more than a dramatic history lesson. It is a piece of filmmaking excellence I am almost certain to revisit, and a film I’m fairly positive I’ll appreciate even more once I have done so.

Waititi balances the horrifying and the hysterical with relative ease.

I admired a lot of what Krauss was attempting, and I certainly think his skills as a filmmaker are beyond reproach. But none of that means I also feel his debut The Kill List is essential, and even if this heinous historical event is worthy of exploration the director already did that back in 2013 with his stunning documentary. I can’t help but feel people should just watch that instead.

I walked out of the promo screening a little angry, disappointed that Taylor’s Black and Blue never lived up to the potential it so deftly showcased for much of its 108-minute running time.

The Lighthouse is one of 2019’s most uniquely satisfying creative endeavors, and even if I’m still not sure what the point of it all is I just as assuredly cannot wait to head back to the theatre and weigh anchor on a second viewing as soon as possible.

Low Tide did just enough to keep me wanting to know what was going to happen next and to find out whether or not brothers Alan and Peter would be able to keep from drowning in the tumultuous sea of bad decisions they were swimming in.

Joker wasn’t for me, and even if I were to dance with the devil in the pale moonlight and have a sudden desire to watch the world burn that still doesn’t mean I see my opinion changing anytime soon.

The Death of Dick Long gallops to the finish line with authoritative tenacity, its final moments hitting me like a swift kick to the head from a startled horse I’d made the unfortunate mistake to frighten.

There’s nothing peaceful or calm about Donnybrook, the darkness Tim Sutton’s film so intimately explores overflowing in a profound sadness that only grows in resonance as events build to their lethally tragic conclusion.