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Looking in to the actual events and details surrounding the CIA’s Detention and Interrogation Program developed after 9/11, internal investigator Daniel Jones (Adam Driver) is tasked by Senator Dianne Feinstein (Annette Bening) to find what extent the agency went through to destroy evidence, subvert the law, and hide the truths from the American public. Written and Directed By Scott Z. Burns and based on actual events, this procedural thriller effectively manages to assemble many parts of modern U.S. history, redacted and not, into a compelling and damning screenplay. Well cast and acted, the entire ensemble fits together as pieces of a puzzle slowly peeling back layers of onion skin as we’re exposed to the caustic truths behind the Nation’s actions; in particular, nods to Driver as the social conscience of the film providing the perfect level of intensity, fear, and fight in the face of a giant. This snapshot of American history holds important lessons that all should be aware of. Not to be swept under the carpet and worthy of your time, The Report is rated R.

Years after his father’s snap and break at the Overlook Hotel, Dan Torrance (Ewan McGregor), now a grown man battling a host of bad habits is met by a mysterious young pen pal who also shines, Abra (Kyliegh Curran). Meanwhile, a group of vampiric individuals known as The True Knot scour the earth in search of children who shine; looking to feast on their essence or “steam.” So, when Abra discovers the Knot’s existence, and likewise, they hers, it’s a game of cat and mouse. But, ultimately stopping the True Knot’s leader, Rose (Rebecca Ferguson), will take much more than the shine of Dan and Abra alone, perhaps the darkness within the Overlook will come calling after all? Directed and Written by Mike Flanagan and based on the Stephen King’s novel, this near perfect pairing to Stanley Kubrick’s the Shining from 1980 continues the horror and further fleshes out the world for those who shine. Thoughtful casting and re-casting of several classic characters in the ensemble feels completely natural and not a star out of place, in particular performances from Ferguson, McGregor, and Curran hit the hammer on the nail with a resounding smash, loud enough to wake the dead perhaps. Exquisite attention to detail, Easter eggs included, and spot on art direction keeps the tangible horror tethered to the real world just enough to plant the “what if” bug deep enough. Careful attention to cinematography and editing, sometimes mimicking Kubrick’s style, updating as necessary and required makes this easily re-watchable two hour and 31 minute descent into chaos a pleasure. Capping things off, exquisite scoring by The Newton Brothers nicely marries Hector Berlioz’s Symphonie Fantastique (Dias Irae) (used extensively in Kubrick’s the Shining) with a flair of their own, vanishing perfectly as a score should yet working on the audience one note at a time. Totally worth it. Doctor Sleep is rated R.

Thirty something Kate (Emilia Clarke) has lead a life of bad decisions, men, jobs, problems, one after another. So, when the dashing, funny, daring, and endearing Tom (Henry Golding) enters her life, a modicum of caution is forefront in her mind– it all seems too good to be true. But, perhaps for Kate a little of Tom’s magic is all it will take to switch tracks in life and love. Directed by Paul Feig and Written by Emma Thompson and Greg Wise this endearing romance/comedy certainly checks all the boxes for potential box office return by offering something the same but different. Specifically, starting with a story that loosely parallels A Christmas Carol, It’s a Wonderful Life, and Fight Club, the reach of this holiday festivus is a broad net cast to reach a wide audience of romantics at heart. Meanwhile star power from Clarke, and Emma Thompson doesn’t hurt the equation either. It’s cute, it’s fun, it’s low in nutrition value, and that’s okay. Maybe worth a matinee now or something to fold laundry to later. Last Christmas is rated PG-13.