The final cry The Whistlers makes is one of forgiveness and grace, the unspoken connective pull of human understanding impossible to resist.

The Lodge is powerfully haunting stuff, things building to a climactic turn of events that are as shocking as they are in some ways equally warranted.

The final third is a massive disaster that’s bewildering in its narrative ineptitude, and as I sat there in the theatre I was dumbfounded how those involved with Fantasy Island thought any of this was a going to play even reasonably well with a paying audience.

The Rhythm Section just can’t keep the beat, and for a composition that initially showed so much promise for things to ultimately fall so flat the likelihood I’ll be playing this record again anytime soon is understandably slim.

The Gentlemen races towards an inventive conclusion that brought a smile to my face and sent me out of the theatre with a skip in my step. Ritchie returns to his Brit crime caper roots with thrilling aplomb.

Rian Johnson’s marvelous who-done-it (and how’d-they-do-it) all-star murder mystery Knives Out is more than just a witty modern-day riff on a familiar Agatha Christie-like scenario.

Because Condon and Hatcher don’t drop any hints or noticeable clues as to what is going on this character-driven mystery comes perilously close to transforming into a ‘70s-style exploitation thriller for the AARP set, which might have been fine had I felt The Good Liar earned such a pivotal change in tone.

While there’s the high probability that Paradise Hills will grow on me on re-watch, as magnificent as the visual elements are and as strong as the social commentary might be, that’s not near enough to overcome the places where this motion picture falls disappointingly flat.

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.