Next Best Picture

Lots of horror films have been described as feeling like something that shouldn’t be watched, something forbidden. This is true of Tinsman Road, but not necessarily because it pushes the extremities of what can or should be portrayed as entertainment. Instead, it feels immensely private, almost as if merely viewing it is intrusive.

It’s a good deal better than many shark movies that aim to trade off the success of one incredibly memorable blockbuster, but it’s still not the most riveting either.

A small sliver of a person’s life is emphasized, setting the stage for character evolution and growth into the more well-known personality. It’s a foundation that is serviceably established, mostly supported by an enticing performance at its core.

It’s a Spider-Man adventure driven by character in a way these movies have lacked for some time. Despite inconsistent pacing and obvious product placement, it remains one of the better Spider-Man stories we’ve seen on screen in years.

Hadestown: The Musical is another meaningful professional capture of a spectacular musical telling an iconic story in such a beautiful way.

Much like Josh Greenbaum’s other films (“Barb & Star Go To Vista Del Mar,” “Hal & Harper”), The Dink is an all-around good time with good laughs and a strong heart. Its familiar beats are welcomed with open arms, and the laughs give the audience a pleasant reason to smile in these grueling, serious times.

It’s a brilliant continuation of the series that matures alongside its characters, rather than trying to do something completely new. After nearly two decades away from the original series, this is a remarkably faithful new story, one that will surely satisfy longtime fans.

The Kidnapping of Arabella is a strange film, but not in the way it’s aiming for. It feels imbalanced, owing to the compelling, sympathetic central pair brought to life by two great performances, who are forced to interact with truly unpleasant characters in an uninviting world. This odd, destabilizing energy makes for a film that actively pushes viewers away, even if the concluding minutes beg for the audience’s tears, and by that nature, their approval.

There is perhaps no filmmaker working today who was better suited to tackle the enormous challenge of adapting “The Odyssey” than Christopher Nolan.

The Bend in the River is admirable for its dedication to truth but nearly unbearable as an experience. It is a film that lingers, but one most viewers will never want to revisit.