What does come as a surprise, somewhat, is Fincher’s departure from his clinical precision; he adopts a looser approach here, no less precise, but much warmer than, say, the steel-blue, fierce indictment that is The Social Network. “Photographed in Hi-Dynamic Range” to approximate the look and feel of a late-1930’s feature, Mank is incredibly dense, lush, and extravagant.

Delgado’s script is keenly aware of the world she is sharing. With the utmost humanity, each frame conveys the lives of those living in limbo, working for the mere hope of something better.

While the more dramatic side of The Planters does not totally gel, when the movie works, it is a slice of delightfully idiosyncratic comedic genius. The cast is terrific, the screenplay is amusing, and the whole affair is immensely rewatchable.

Polsky packs a lot into the film’s slim 80-minute running time. It’s dense but never overwhelming, presenting facts and anecdotes in a coherent, intuitive, supremely entertaining fashion.

The movie is set up to pull the heartstrings, and it’s very effective at doing so. You care for the characters and what happens to them, and you leave the film wanting to know more.

It’s jolly, childlike in a good way, and unusual where it counts. It’s a pop-up book that should be prominently displayed and never read.

Despite being overall quite enjoyable, it feels very rushed in places, especially towards the end, and it fails to cap off Midway’s epic rise and fall as it deserves.

It’s all deeply unsettling, a glorious massacre you can’t look away from. Kill It and Leave This Town dares you to avert its gaze. You may not be able to describe it, but good luck forgetting it.

Doin’ My Drugs is an informative and inspiring documentary about a man and his guitar trying the change an entire nation, one person at a time.

Survival Skills has so much going for it, one may feel tempted to go along for the ride, bumps and all.

There are worse ways to pass 90 minutes for those willing to disregard the film’s numerous, glaring flaws. Call it a Chinese Mission Impossible, minus Ethan Hunt’s budget and brains.

Perhaps Landon could step away from mixing slasher horror with classic comedies and create his own thing. Or maybe this is his thing. In which case, I look forward to The Breakfast Club on Elm Street, especially if it stars Vince Vaughn.

The chemistry between McCarthy and Cannavale is great. I could see an entire, more traditional rom-com starring the two of them.

Team Marco is a pleasant surprise in a world that can be quite cruel to comedies. I am genuinely impressed with the passionate acting, the compelling story, and the deep, moving metaphors. This film is sure to please everyone who watches.

The movie wants to put all of the theories to rest, and it may have answered some of the questions, but I do not believe that it will change the mind of a conspiracy theorist.

A hope for pleasure is almost as enjoyable as the pleasure itself,” a character quotes Shakespeare at one point. I didn’t derive any pleasure in hoping for pleasure while watching Esau – and man, did I hope.

All Joking Aside gives us but a glimpse of the pain behind the smiles, but like an evening at a comedy club, leaves us with a good-natured grin.

Try as I might, I can’t quite shake nor stop thinking about The Giant, and that makes me believe Raboy’s done something very, very right, here – even if you might have to squint a bit to see it.

It might be easy to write off Dating Amber as yet another “coming out” film, but what it ultimately is is just plain ol’ good storytelling.

It’s a pastiche of all the good anthologies we had back in the day, such as Tales From The Crypt, Creep Show, and more. It’s a perfect Halloween watch.

Apart from the two leads, there’s little warmth or humanity to be found here, the film purposefully cold and distancing, much easier to admire than to love. That said, there’s plenty to admire in this sad, contemplative journey into the heart of darkness.

Come Away is just a heart-rending, joyful, and gorgeous movie that everyone should take their kids to go see.

Friedkin gives us a master class on the creative process of film and a set of expertly told war stories that thrill and inform. It just doesn’t get better than this.