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One of the few survivors of a bombing at New York’s Metropolitan Museum, Theo Decker (Oakes Fegley, Ansel Elgort) rises from the ashes to be taken in by a wealthy Upper East Side family. But, when estranged father (Luke Wilson) returns to claim Theo and bring him back to Nevada, the aspiring antiquarian is stopped in his studies; returning to New York a considerably more appealing fate. All the while, the harboring of stolen painting, “the Goldfinch,” remains at the center of Theo’s drive. How best to re-enter society for Theo and the painting hangs in the balance?Directed by John Crowley and based on the novel by Donna Tartt, this kitchen sink showpiece bounces from past to present with an accomplished ensemble made up of adult and child actors to round out each time period; interestingly it’s the youth who steal the show with significantly more impressive dynamic range and control, props to Oakes Fegley and Finn Wolfhard for their tortured youth incantation. Meanwhile, as the story sprawls in all directions like a deflated balloon, the overall wonder also manages to fall flat as our characters age and become wooden, disappointing for a tale of such epic proportions often falling to coincidence for convenience of storytelling. On the positive Cinematography by Roger Deakins is impeccable as always with consideration to light, color, texture, and creative angling. Maybe a matinee or rental if you don’t want to play bladder busters, the runtime is two hours and twenty nine minutes by the way, the Goldfinch is rated R.

It’s been 27 years since the small town of Derry was last terrorized by Pennywise (Bill SkarsgÃ¥rd), the supernatural/extraterrestrial dancing clown; now, a similar series of events and disappearances is happening again. Returning home on a blood oath to finish “It” once and for all the Losers Club will have to dig up their past to ensure their future, lest their own self doubt destroy them first. Directed by Andy Muschietti and based on Stephen King’s novel, this beast of a movie, which runs nearly three hours in length, puts maximum effort in to re-creating the Stephen King slow burn style of character development. This go round adding heavy helpings of backstory to each of the leads, often in graphic and gory detail, fewer stones are left unturned, this however sacrifices eloquence and brevity on the alter of bloat. On the upshot, and despite its inefficiencies, the creep and tension factors clearly hit harder into the deadlights, even with fully telegraphed punches. And, to the ensemble’s credit, both generations of actors meld nicely to create what feels like legitimate and authentic younger and older versions of themselves, sharp. From a makeup and effects perspective, the film does lean heavily into CGI territory (computers and digital imagery) as opposed to practical effects (puppets, models, painting, etc.), but, measuring gallon for gallon in stage blood vs. CGI blood, either way you’re in for a massacre. Are you ready to kill this clown? It Chapter Two is rated R….for obvious reasons.

Following a long family tradition, new bride, Grace (Samara Weaving), is welcomed into her husband’s family with an invitation to play a game at midnight. But, what starts out with an innocent premise quickly turns dark as Grace finds herself in the line of fire from all of her new in-laws. Now, surviving the night will be the name of the game, this could be a total bloodbath. Directed by Matt Bettinelli-Olpin and Tyler Gillett, Written by Guy Busick and Ryan Murphy this splatter-fest delivers the goods with cringe worthy crossbows, stabs, gunshots, and screams all doused thoroughly with an air of ironic comedy. Not ironic but rather impressive, it’s important to point out the apparent simplicity involved here is much like a child’s game, easy to learn but takes a lifetime to master, and, in this case Bettinelli-Olpin and Gillett are well on their way to showing their clever mastery of the thriller/horror. For Weaving, niece of Hugo Weaving, the acting gene is clearly genetic as she nails this physical and psychological performance from start to finish. Cinematically one question does come up, the choice to shoot several chase scenes with a shaky hand held camera, a debatable decision, but this is splitting hairs. Come for the thrill, stay for the carnage, Ready or Not will not disappoint. Ready or Not is rated R.