Of course I should have gone to see this in theaters, but I still found it pretty delightful at home. One of the most vibrant and invigorating big-screen musicals we've had in a while. Not just because it's good, but because it's positioned as an audience-pleasing entertainment rather than some try-hard awards juggernaut.

Narratively, I'm not sure this is going to especially shine on a repeat viewing - and I think it's telling that Lin-Manuel Miranda's greatest success so far…

Almost shockingly enjoyable, but I guess there's a reason the expression "any film that's not already *about* a haunted doll will only benefit from incorporating a haunted doll into its plot" has become so common.

Seriously, though, this was consistently engaging and completely fascinating to watch unfold. It ultimately kind of over-stays its welcome, but I often had no idea where it was going in the *best* possible way. There's also some shockingly good underwater action, some (mildly troubling, admittedly)…

Before it takes a turn into its severely grim final act, this is a surprisingly nimble, endearingly well-cast riff on The Searchers. Of course, that turn is so sharp and so complete that it leads to my one quibble with the film - that it doesn't quite prepare the audience for where it's going to go. Granted, a lot of people are coming into this thinking "cannibal western, all right" but I'm willing to bet most won't have that knowledge,…

Functionally no more risible than The Old Guard or Wanted, each of which received largely positive reviews on release. Do people just despise Mark Wahlberg? Or is the critical consensus indeed spearheaded by a man who can't tell the difference between Antoine Fuqua and F. Gary Gray?

I found this all to just be some goofy, dumb fun, and Chiwetel Ejiofor in particular is just bouncing off the walls throughout in the best way. It's largely baffling as a luxury…