Nicolas Cage's previous western ("Butcher's Crossing" -- which played at TIFF 22) was a different animal of sorts that was more existential. His new entry "The Old Way" is more classic but more dynamic with a much more edged performance as well as better pacing and accessibility.

The climactic element of the last film raised the stakes to the point where it needed to be. There was only one way it truly needed to go in: an all out war (within a Blumhouse confine). "Halloween Ends" doesn't quite do that or deliver on that promise. It goes a different way which is its prerogative but sort of a let down.

The structure of the aspect of suffering in an interesting diatribe on the notion of self. The circumstances of living in certain ways create situational structures based on choice. "Hellraiser" as a metaphor is strictly about that but using the essence of body horror and consequence to fuel the fire.

Making an original film with a period backing with unusual if not eccentric characters can either work gloriously or become hit-or-miss scenario depending on the beats the story takes. "Amsterdam", a new faux comedy from writer/director David O. Russell, is particular in many ways that always populate his films. However it depends on certain edge points.

The deconstruction of illusion and by extension, logic is always the crux of a supernatural approach to a film. “Smile” has done some interesting maneuvering since it is catchy but but by the trailers one would maybe see a one note slasher. This is far from the truth. It is a psychological character study about the dismantling of a psychologist in her own head through her own trauma.

Viola Davis can rule a screen but it reflects in the range that she is always able to bring. “The Woman King” has her as the head commander of a tribal army led by females. Like the Samurai they take certain rules but unlike those perhaps, there is more of a hidden trauma that fuels these women, though they are hardest on others like them.

The aspect of a murder mystery with a bit of chicanery is always an interesting premise. ”See How They Run” is an interesting amalgamation because it almost thinks like a Wes Anderson movie and has some of its actors and yet is its own separate beast (and not quite the same).

"Pearl" brims with lead Mia Goth's energy. The character has so many demons but simply the chemistry in her is wrong and Goth gets that right. It is an interesting irony. Pearl wants so hard to please but her instinct tells her all the wrong things to do.

The context of horror depends on expectation and what one thinks of the path going in. With "Barbarian", even with the influx of how the trailers built the film up, it is about the misdirect and perspective of the audience. But the idea revolves in how it plays out. This usually has to do with structure and the intensity of what the reveal is.