One might worry that so many postponements portend disappointment, but set those trepidations aside. Like their dark hero, director Chad Stahelski and his indefatigable star Keanu Reeves are incredibly good at what they do: conducting symphonies of stylized violence and making it look so awesome that the near three-hour run time flies by.

Martin McDonagh revisits 1920s Ireland with a stirring dark comedy of an abruptly severed friendship on a tiny island of sad boring men.

A film that is deeply uncertain of what it wants to be or where its strengths lie, Halloween Kills succeeds in sending any lingering interest in this franchise to its grave. 

Although director Tom McCarthy borrows heavily from the Amanda Knox story, Stillwater is hardly a ripped-from-the-headlines docudrama. Instead, he wisely takes inspiration from the situation of a daughter whose study abroad ends with imprisonment for a gruesome murder she claims not to have committed as the jumping-off point for a different kind of tragedy in three acts.

A cultural artifact, a historical document, and a musical masterpiece, Summer of Soul is truly a documentary we are lucky to get to see. When considering how there is a world where we may never have gotten the chance to lay eyes upon any of the footage of the once in a lifetime musical event, that only makes the experience all the more special to witness it now.

Over the course of the last several weeks, I’ve been going back through all the previous Saw stories. Across eight films, the series told of everyday people who found themselves caught in tortuous games of life and death that were all orchestrated by the infamous Jigsaw killer. Only a few are worth watching as the series steadily declined into being more and more unnecessarily convoluted to keep the story running past where it should have ended. It is a shame as the first, even with its flaws, remains a standout that left a mark on the horror genre as a well-constructed and inventive film.