Did you know that UFOs (unidentified flying objects) are now, instead, routinely classified as UAP (unidentified aerial phenomena)? Until seeing Jordan Peele's Nope, I had no idea – just as I had no idea that the writer/director/producer could so successfully harvest the Spielberg/Shymalan oeuvres for his specific needs, or that the image of a monkey staring directly into the camera lens could so thoroughly freak me out.

Barring only a few minor plot twists and one major (terrible) one, I certainly felt as though I had read both of these un-read books, considering that their movie adaptations come off as under-imagined page-to-screen transfers terrified of alienating their fans with anything approaching spontaneity, surprise, or the intrusion of real-world complexity. Only in the case of one film, however, does that prove to be a deal-breaker.

It's entirely possible that no one other than Taika Waititi could have crafted a joke-heavy Marvel Studies adventure involving abducted, imperiled children and a heroine suffering from stage-four cancer. It's equally possible, regarding Thor: Love & Thunder, that the filmmaker maybe shouldn't have.

The only things I actively remember from Minions: The Rise of Gru were the hilarious antics of Minions Kevin, Stuart, Bob, and Otto. And I barely remember them at all.

There's plenty to conceivably gripe about, but those complaints feel moot in the face of the stellar, supremely emotional entertainment that Elvis' director and star deliver. And for their film's two hours and 39 minutes, Baz Luhrmann and Austin Butler deliver that entertainment again and again and again.

Writer/director Angus MacLane's adventure comedy has a built-in safety feature – a shield against irrationally high hopes – that was a lot more charming than I anticipated, because the way the film has been designed, it doesn't have to be the coolest family entertainment of 2022. It just has to suggest the coolest family entertainment of 1995.

This admittedly overlong, overstuffed outing is the most enjoyable Jurassic flick since Jurassic Park and for my money, it provided about the same amount of dopey retro fun as the Tom Cruise smash that most reviewers are turning cartwheels over. At least in this one, we know where they bad guys come from.

Concluding his pre-show announcements with “Enjoy the goopy madness!”, the FilmScene staffer then left us to do just that at Crimes of the Future, and he wasn't kidding – the movie was goopy madness, all right. I just wish I enjoyed it more. More pointedly, I wish its writer/director did.

Our official welcome-back is a rather jolting reminder that time stops for no one – not even Tom Cruise. And had Top Gun: Maverick really embraced that fact, and had its star actually embraced his human fallibility, this corny, retrograde, occasionally quite-entertaining outing might've really been something.

The experience of director Simon Curtis' Downton Abbey: A New Era is nothing if not exceedingly comfortable, even if there's little that's remotely New about it.