The best use of cherubs since Botticelli. Adam Scott plays Ohm Bauman, a cynical, embittered author penning the end of his very popular “Conquistador” trilogy of books. On a whim, he leaves his palatial modern manse in Washington state and heads out to Ireland, to the very hotel his late parents enjoyed their honeymoon. As Damian McCarthy‘s film is a proper Irish horror story, there’s a witch, a cynic and a drunk involved.

There are a great number of mysteries in Rian Johnson’s third leg of his Knives Out trilogy, many of which answered save one — at least expressly: Why does the lighting change so dramatically in many of the film’s most directly parochial scenes?

Blonde’s platinum sheen is nothing more than a dime-store dye job.

Scream entertains by not straying too far from the same old formula, but this retread didn’t wow or surprise me in the least.

Lamb is a folktale that starts off wrong and revels in its decision to stay that way.

Malignant evokes horror movies of a bygone era and builds slowly to an amazingly bonkers reveal and finale.

Its meaty film noir elements and drenching atmosphere nearly carry the film on their own.

Old squanders a great concept with annoying details that distract you from the crisis for the characters.

Wraps a mystery in the trappings of a horror film and slowly peels back layer after layer of surprises hidden just out of sight.

More than anything else, The Rhythm Section is a score in search of a picture.

Mixes equal parts Clue and Memento for an exciting howdunit more than a whodunit.

Packs the screen with Hollywood heavyweights and fills each of their characters with enough charisma to rouse a coma ward.