An operatic collaboration between award-winning filmmaker Ed Robbins, composer Richard Marriott, and artist Lesley Dill, Divide Light will enjoy a special August 19 screening at Davenport's Figge Art Museum, the film contemporizing the works of poet Emily Dickinson, linking the groundbreaking ideas of the mid-19th-century American Transcendental movement to innovations and global concerns in today’s rapidly changing world.

Writer/director James Gunn's re-imagining of David Ayer's Suicide Squad now outfitted with a “The” and an identifiable sense of humor – is almost inarguably a stronger piece of work than DC Films' five-year-old predecessor: more tightly structured, more visually audacious, almost entirely exposition-free. Yet it's still a rather depressing experience, because instead of finding ways to make the “old” movie better, Gunn appears merely to have found ways to make a Guardians of the Galaxy flick gorier.

Winner of the Dublin International Film Festival's “Best Film” citation for 2019 and included among the National Board of Review's top-five foreign-language films for its year, writer/director Christian Petzoid's Transit, on August 13, serves 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,

Director Jaume Collet-Serra's family adventure may be as self-referential and avaricious as any of the Mouse House's live-action blockbusters, but the film's cheerful spirit and charm prove utterly infectious, and I wound up having more and more fun as the film progressed.

M. Night Shymalan's new cinematic freakout, inauspiciously yet evocatively titled Old, could easily be mistaken for a masterpiece if you don't understand a word of English.

Director Malcolm D. Lee's LeBron-James-meets-the-Looney-Tunes adventure, beyond feeling cynical and desperate, may be the most flabbergasting, relentlessly self-promoting entertainment I've ever endured. Lee's movie is constantly selling, yet the only thing it actually gave me was a headache.

With more praise (and some damnation) to come, I suppose the highest compliment I can pay director Cate Shortland's new Black Widow is that, in the grand scheme of things, this Marvel entry could hardly matter less.

Directed by Everardo Gout and written, as all of them have been, by James DeMonaco, The Forever Purge is the fifth and purportedly final (sure, whatever) installment in the popular series of horror thrillers, and offhand, it's hard to think of another long-running film franchise that has gotten more mileage out of being not bad.

F9: The Fast Saga opens like Days of Thunder, middles like James Bond, and closes like a Corona commercial. In between those mile markers, the movie also manages to suggest a lost Indiana Jones sequel, a live-action Road Runner cartoon, a week-ending episode of Days of Our Lives, and a biggest-bicep competition in which the only entrants are Vin Diesel and John Cena. Needless to say, I ate it all up with a spoon.

Lauded by the Boston Globe as “brilliant metaphorical filmmaking,” director István Szabó's 1981 drama Mephisto serves as the latest presentation in the Kinogarten series of German-themed works screened on the first Friday of every month, with Rock Island's Rozz-Tox and Davenport's German American Heritage Center, on July 2, co-hosting their presentation of the first Hungarian movie to ever win the Academy Award for Best Foreign-Language Film.

Pages