Everything that's wrong with the super-sequel Shazam! Fury of the Gods is effectively baked into the title. Because if there's one thing that fans of the 2019 film (myself among them) don't want, or at least shouldn't want, it's fury – not when the original's appeal was so firmly grounded in the goofy, amiable, touching, and refreshingly inconsequential.

Before getting to the awards – and one particular movie gave us loads to talk about on that front – let me begin by addressing the event itself, because last night's 95th Annual Oscars telecast was a little boring. Intentionally, gloriously, blessedly boring.

As a rule, horror sequels aren't supposed to be good. Fifth sequels in any genre aren't supposed to be good. Sequels whose basic M.O. is “Let's do what we've always done … but in a different city!” aren't supposed to be good. And yet, almost preposterously, Scream VI proves to be very, very good – though if that praise seems suspect, I'd be willing to amend it to “very, very entertaining.”

It's still incredibly early in his career to ask this, but is there anything Jonathan Majors can't do?

It feels odd to preface a lengthy article devoted to my predictions for the 95th Annual Academy Awards by asking you to not listen to me. But this year? If you want to win your Oscars pool? Don't listen to me.

Winner of the coveted Caméra d'Or at the 2005 Cannes Film Festival and a Special Jury Prize at the Sundance Film Festival, writer/director Miranda July's Me & You & Everyone We Know will enjoy a special Figge Art Museum screening on March 9 in conjunction with the exhibition Sporting Fashion: Outdoor Girls 1800 to 1960, the Davenport venue's latest movie series highlighting award-winning, groundbreaking feature films that celebrate the cinematic achievements of women.

While Cocaine Beat is both less stupid that it could have been and less stupid than it should have been, I had a surprisingly agreeable time – and so did a high-schooler friend of mine, and my 50-something bestie, and my octogenarian mother.

Screening at Davenport's Figge Art Museum on March 5 and lauded by Asian Movie Pulse as a work "highlighting the situation in the Dead Sea in the most eloquent fashion," the 78-minute documentary Dead Sea Guardians serves as the final presentation in River Action's annual QC Environmental Film Series, with the film's Israel-based producer/directors Yoav Kleinman and Ido Glass participating as post-show reflection speakers via Zoom.

Of the three showcases to date for Paul Rudd's alternately diminutive and behemoth superhero, Ant-Man & the Wasp: Quantumania is the one I dislike the least. As I see it, credit for that is due to precisely two elements. Compared to Ant-Man & the Wasp, this new adventure has roughly 75-percent more Michelle Pfeiffer; and compared to the 2018 sequel and 2015's original Ant-Man, it has 100-percent more Jonathan Majors.

Screening at Davenport's Figge Art Museum on February 26 and lauded by Gripped magazine as "full of purpose and powerful storytelling," the 35-minute documentary Black Ice serves as the fifth presentation in River Action's annual QC Environmental Film Series, with Gripped adding that the work "brings together a group of amazing characters" and "helps to restore the belief in a better world.”