This week's movies cover a surprising range of emotional connections under pressure — some forged in the heat of deception, others unraveling through poor writing and missed chemistry. Black Bag shines as a classy spy thriller with a grounded romantic through-line, while Neighborhood Watch leans on character warmth despite its procedural messiness. The two Five Nights at Freddy’s entries limp through chaotic animatronic lore, offering little beyond confusion. People We Meet on Vacation attempts heartfelt romance but falls into hollow genre habits.

This week's movies cover a span of time and tone—from silent German expressionism to buzzy modern satire—with each film examining the tensions between illusion and reality, myth and identity. Murnau’s Nosferatu evokes eerie permanence through its shadowy legacy, while Eggers' version strains to reanimate its Gothic core with contemporary nuance. Bugonia and Influencers tackle manipulation in different guises- bees and brands, respectively- though both fall short of deeper subversion. Under the Tuscan Sun, meanwhile, offers escapism, but little nourishment.

This week’s movies cover creative swings that don’t always connect - offering glimpses of bold new voices, genre subversions, and franchise fatigue. The Ballad of Wallis Island is the clear standout, a slow-burning, intimate dramedy with a gently poignant core, while Queens of the Dead and The Running Man attempt fresh spins on familiar frameworks with mixed success. Elsewhere, Fackham Hall and Now You See Me: Now You Don’t show the limits of talent stacked atop thin material.

The Holdovers (2023): I'll stay in the Christmas spirit, with one of the best new(er) additions to the list. My impressions after the first viewing remain all valid, and there's just this warmth and gentle dynamic that makes The Holdovers a classic. It sure is helped by being set in the 1970s, which gives it a timeless feel. I also love Paul Giamatti in general and am very glad that he has a movie like this one in his filmography.