Amazeballs

There are movies which, with all their gloss and calculated ambition, remain pieces of machinery, oiled and in motion, but never quite alive. The Accountant is not one of those. It rumbles, clicks, and suddenly roars as if its protagonist’s sharp edges were etched with lightning, each narrative gear turning inevitably toward violence and revelation. That familiar yet unexpected pleasure, the sensation of a genre movie actually delivering on its promises, finds a rare showcase here. For once, the machine’s hum is exhilarating.

If you’re in the mood for a fun buddy cop movie, “The Nice Guys” is definitely a solid pick! I found this film to be an enjoyable romp, brimming with lighthearted humor and a nostalgic vibe. The chemistry between the characters, paired with the charm of 1970s Los Angeles, left me thoroughly entertained and in good spirits by the end of the experience.

One comes to a marathon of the “Terrifier” films much as you might approach a rickety rollercoaster at a fading state fair, skeptical, but secretly hoping to stumble out a little changed. It all begins with a shriek and a snicker: Damien Leone’s creation, Art the Clown, born of a 2011 short that was less a calling card than a threat. Yet by the third film, set amid Christmas glitter and moral queasiness, the series has grown into a twisted, almost baroque pageant of splatter and dark wit. The “Terrifier” films, watched in quick succession, form their own fevered treatise on what horror can still provoke, where it dare not go, and just how long you can keep laughing in the dark before you start to worry about yourself.