Even though I didn't really care for either offering during my first double-feature since March, I wouldn't have traded the collective three-and-a-half hours of Unhinged and Words on Bathroom Walls for anything. Except, maybe, for better scripts.

The following five films from 1957 to 1985 were all the first feature-length releases by directors who have been, or were, significant cinematic forces for more than 30 consecutive years. Don't even try fighting me over inclusion three, because you know you love it, too. Um … right?

If you've ever found yourself escorting others to, or hosting home viewings of, entertainments that your loved ones found resolutely not entertaining, here are five titles from 1977 to 1995 that, for me and my friends, led to awkward silences, napping, outright hostility, or, in one case, someone storming out of the room.

Damned if this fiercely funny, inventive, thoughtful, and affecting release doesn't feel like the first movie comedy designed specifically for the pandemic era: a spiky yet empathetic commentary on modern life and modern romance in which “modern,” for once, genuinely means “this exact moment right now.”

As a record of filmed theatre – especially considering Lin-Manuel Miranda's achievement is probably the greatest musical-theatre offering of the last 20 years – this Hamilton might have exactly zero peers.

Spike Lee's latest is woke but also thunderously awake – so alive with ideas and homages and both presentational and emotional grandeur that it's nearly overwhelming.

It's been a few days since I saw it, and I still can't decide whether I consider the brutal, sometimes brutally funny Blumhouse thriller The Hunt a strangely great terrible movie or a strangely terrible great movie. Either way, I generally had a ball.

Pixar's new adventure comedy Onward is about fathers and sons, about big and little brothers, about facing fears and taking risks and finding gratitude in the face of loss. It's also about as much fun as I've had at the movies in months.

You may not know precisely where the woman's tormentor is at any given time, but damned if you're not convinced that you can see him anyway, and in a movie suffused with genre pleasures, Leigh Whannell's and Elisabeth Moss' combined ability to make invisible terrors visible has to stand as its biggest one.

Once you adjust to Buck's initially off-putting quality, and the similar anthropomorphism of the film's other animals, and the intentional broadness of everything from the compositions to the choreography to the humans, Chris Sanders' outing emerges as an unexpectedly winning and effective family flick. The wide-screen vistas and gripping action sequences make seeing it at the cineplex preferable, but don't fret if you miss the movie now – once it lands, it'll be a go-to choice on Disney+ forever.

Pages