"Antlers" works on certain assumptions and formulas but creates an interesting essence of character build while not delivering completely. While the progression is simple in terms of a genre tale of a mythic creature wreaking havoc, it is the human story that is the most complex.

The essence of perception always builds in the ideas of what can be seen. The texture of "Last Night In Soho" can be a reflection of two truths but with both being paved in a necessity of their own existence. Both lives that the story follows can be misjudged or misaligned.

There are some moments of textured brilliance in "Kills" but it does have to play to a certain denominator and set up which is does adequately despite some shoddy structure, questionable dialogue and barely flushed out characters save for the core.

"The Last Duel" is, in many way, fairly straightforward in its structure but in seeing the inherent structure post viewing it builds an interesting viewpoint in its dynamic but it is not as powerful as it might have been.

Daniel Craig's final entry into the Bond series "No Time To Die" begins and ends with a finality to it. It harks back while looking forward. It does everything it likely should but in elevating Bond and making him more modern, at times, it loses a bit of what he is, sans societal norms.

While Hardy and Venom in their scenes are brilliant (despite not using motion capture), it doesn't translate at all to the overall thrust of the movie which is too bad considering who he is going up against in Woody Harrelson as serial killer Celtus Kasady.

"Titane" is unique and tries a lot of different things. In doing so it creates riveting performances at times from Lindon and Rouselle while bathing a story in metaphors that only truly works when the truth of caring comes through.

Despite some restrictions but a stellar performance by Tim Blake Nelson made even more so as the layers are unraveled, "Old Henry" is old school and yet delivers its goods with both stakes, time and focus.

"Best Sellers" tries to show that path in the progression of a nihilist. The interesting structure is the reverse casting of Aubrey Plaza and Michael Caine that gives it its fragility but also, at times, a lack of edge.