The good news is that watching Enola run around Victorian London solving crimes, getting into trouble with Tewksbury, and in general making a fiercely independent feminist nuisance of herself remains a great deal of fun.

Dark Glasses is a satisfying return to form for Argento, this nifty little retro Giallo slasher a tasty October treat worth savoring.

The climax of Halloween Ends is pure, unabashed, blood-soaked nonsense, culminating in that full-throttle showdown that’s been 44 years in the making and promised in the sequel’s title.

For all its strengths, Smile does Dr. Cotter dirty. Worse, it made me feel culpable in her abuse. I didn’t like that. Not one single bit. In fact, I unreservedly hated it.

Janney is particularly strong, and while I won’t say I needed to see her channeling her inner Liam Neeson, now that I’ve done so, I’m quite glad this bit of absurd strangeness has miraculously happened.

Pearl is a gift.

Barbarian is a leap of faith. It lets the viewer in slowly, before trapping them in a damp and dingy bunker of exploitive fright that’s almost impossible to escape.

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.

The basics are simple and straightforward, making Beast something of an “animals attack” throwback that goes right for the jugular, with enthusiastic ruthlessness.