While Ridley Scott's latest is ultimately engrossing, if for deeply complicated and largely upsetting reasons, I couldn't help but find my thoughts also drifting away from its #MeToo angle and toward a familiar fairy tale, as one third of the film is too hot, another third is too cold, and the final third is … . Well, it's not just right, but it certainly believes it's right.

No Time to Die is more of the same – and at 163 minutes, a lot more of the same – but with heightened yet human-scale threat, as well as an emotional urgency that makes the old feel close to new.

Numbered Titles / A /  B / C / D / E / F / G / H / I / J / K / L / M / N / O / P / Q / R / S / T / U / V / W / X / Y / Z / Special Features

On September 29, the lauded film received a News & Documentary Emmy Award for Outstanding Writing, and on October 17, The Story of Plastic will be screened at Davenport's Figge Art Museum as the latest presentation in River Action's annual QC Environmental Film Series, this fascinating documentary suggesting, as stated by the Wall Street Journal's John Anderson, “that a giant problem really will be resolved through the smallest gestures.”

They're both follow-ups to hits that also enjoyed October openings – one in 2018, and the other in 2019. They're both blessedly short, running 97 and 93 minutes, respectively. And if you're wondering what else Venom: Let There Be Carnage and The Addams Family 2 might have in common, they're both considerably better than the works they hailed from, although in only one case does the improvement result in something resembling a good movie.

While it's intermittently moving and generally well-acted, the film version of Broadway hit Dear Evan Hansen, as you may have heard, has a number of problems: an unconvincing, even preposterous premise; blithe depictions of teen depression and mental instability; a 27-year-old lead cast as a high-school student. We'll get to those shortly. But the movie's biggest issue, it seems to me, lies in a sensation that you might only recognize if you've seen a lot of stage musicals, or least a lot of sub-par ones.

The rare cinematic achievement that currently holds a perfect 100-percent critical-approval rating on RottenTomatoes.com, the outlandishly inventive horror comedy Der Bunker enjoys an October 1 screening as the latest presentation in the Kinogarten series of acclaimed, German-themed works hosted by Rock Island's Rozz-Tox and Davenport's German American Heritage Center, with the work itself the recipient of the 2015 Fantastic Fest's prestigious Next Wave Award for Best Film.

Winner of Best Documentary and Best Director prizes at the 2015 San Diego Black Film Festival, and a Best Documentary nominee at the American Black Film Festival, the visually breathtaking An American Ascent serves as the latest presentation in River Action's annual QC Environmental Film Series, the movie's October 3 screening at Davenport's Figge Art Museum sure to demonstrate why the MAC Weekly called the work “grand, beautiful, and challenging,” as well as “a mountain of a film.”

Clint Eastwood isn't necessarily bad here; at times, he's even enjoyable. But while I don't wish to be indelicate, there's no getting around the fact that, at the time of filming last year, Clint was 90, and he looks 90, and sounds 90, and moves 90 … and somehow, maddeningly, not one character in the film seems to notice.

Pages