Chris Chiarella

In some dialect, perhaps the language of cinema itself, the name Kubrick must mean "atmosphere." That's abundantly evident in his chilling film adaptation of Stephen King's haunted hotel opus, The Shining. Jack Torrance (Jack Nicholson), an aspiring novelist with a dark past, takes the challenging job of caretaker for a remote luxury resort during the off-season, meaning that his incredibly indulgent wife (Shelly Duvall) and young son with a mysterious gift will be the only living souls for miles around until the spring thaw. Life there is pleasant enough at first, if a bit dull, until curious events begin to unfold.

There is simply no precedent for a cinematic event of this magnitude. Avengers: Endgame is not merely the latest installment in the Marvel canon, but one that builds upon all that has come before to complete story arcs begun as far back as 2008's crucial Iron Man. It also concludes the most recent dramatic "phase" in the 22-film series, and of course drops the other shoe from the 2018 Avengers set-up, Infinity War. And it does all of this with a deft touch, despite its plethora of fantasy characters and an absurdly brisk three-hour running time.

Intergalactic Kree warrior Vers (Brie Larson) is a total badass. And that might be the problem with the latest MCU solo outing, Captain Marvel. If the cryptic flashbacks of her former life are to be believed, she's always been tough as nails, even as a kid, so there's no real character arc—an essential component for Marvel superheroes.

If your crystal ball predicted that someday the writer/director of There's Something About Mary would take home an Academy Award for Best Picture, let's hope you bet big and didn't smash the thing. Peter Farrelly's Green Book is an emotional smorgasbord, one that would no doubt be appreciated by its ever-famished "hero," Tony Lip (Viggo Mortensen). He's a gleefully ignorant yet strangely lovable tough guy (what my people would call a cavone), albeit one who needs to learn a thing or two about race relations. Tony gets his chance when, on a hiatus from his job as a bouncer at The Copacabana, he's hired to chauffeur piano virtuoso Dr. Don Shirley (two-time Oscar-winner Mahershala Ali)—a black man—on a concert tour of the Deep South in 1962.