Finding its cinematic milieu somewhere between The Big Chill and The Hangover, 2018's Tag is at times infantile, crude, and must be described as all-around silly, yet, despite this, director Jeff Tomsic pieces it all together in a surprisingly entertaining way – hitting the right chord by way of its stylized action set pieces, clever dialogue and its unique plot (childhood comradery maintained over thirty long years by way of a simple kid’s game). Written for the screen by Mark Steilen and Rob McKittrick (and based upon a Wall Street Journal article entitled, “It Takes Planning, Caution to Avoid Being It” by Russell Adams – meaning that this is another based on true events tale), it tells the story of a group of friends who have been playing the same game of tag for thirty years (each May being the month where the all-out warfare happens). Now living in different cities, the group is comprised of an overly cocky businessman named Bob Callahan (Jon Hamm), a divorced, unemployed druggie, Randy ‘Chilli’ Cillano (Jake Johnson), a mentally fragile, outside the box thinker, Kevin Sable (Hannibal Buress), and the heart behind keeping the guys united, Hogan ‘Hoagie’ Malloy (Ed Helms). . . then there is their long hunted target, the hot-shot of the gang, Jerry Pierce (Jeremy Renner) – a man who has never been tagged in the three decades they have been playing (through a clever combination of speed, smarts, and feral brawn).

One of the great horror directors of the 1930s, James Whale shot Frankenstein, The Old Dark House, The Invisible Man, and The Bride of Frankenstein in just four short years, an impressive feat that also somewhat overshadows a few of his lesser known, non-spook related features – specifically, 1931's Waterloo Bridge. . . which, interestingly enough, earned Whale so much favour with the head of Universal Pictures’ production department, that Carl Laemmle, Jr. (due to a combination of his quality work and coming in under budget), gave the director the choice of anything the studio had in early planning stages – the filmmaker chose Frankenstein, a smart decision. His Waterloo Bridge is based upon Robert E. Sherwood’s 1930 Broadway play of the same name (the playwright based it upon many of his own experiences), where we are transported to London, England, circa World War I. Stuck in the metropolis is Myra (Mae Clarke), a chorus girl who has fallen on hard times.

Well, if for some reason you’ve ever had the random thought that it would be cool seeing a group of board game loving friends wrapped up in a Taken-like kidnapping mystery – unbeknownst to them (for a good portion of it), then 2018's Game Night is for you. To have some fun, I have tried to work as many titles of games into this review as possible. Written by Mark Perez and directed by John Francis Daley (Bones’ Lance Sweets) and Jonathan Goldstein (the pair were part of the writing staff behind Spider-Man: Homecoming), the plot follows a group of weekly game nighters. . . ultra-competitive married couple Max (Jason Bateman) and Annie (Rachel McAdams), long time sweethearts Kevin (Lamorne Morris) and Michelle (Kylie Bunbury), and the oft ridiculed for having a new piece of dim-witted arm candy each week, Ryan (Billy Magnussen – delivering a great comedic performance in which he too is rather dense) – he has finally surprised the gang by bringing a sharp Irish lass named Sarah (Sharon Horgan); each week is a constant battle to discover who will be numero UNO.

Picture this – a stunning modernist gallery catches the eye of a passerby late one night, not because of its striking white floors and walls that are the backdrop for noteworthy pieces of art, but rather, because it is the scene of a brutal attack. . . a woman being knifed by a man dressed in a dark raincoat, fedora and gloves, her panicked look and seeping blood in stark contrast to the pale decor. Attempting to rescue her, he gets stuck between two hard-wired glass door panels – this is the hook for the benchmark 1970 giallo The Bird with the Crystal Plumage, written and directed by Dario Argento. The man is Sam Dalmas (Tony Musante), a struggling author from the United States. Coming off of a bender, it is this disturbing sight that enlivens his senses, a chivalric jolt of adrenaline. Though he cannot rescue the girl directly, he is able to sound the alarm, flagging a late-night walker who calls the police.

The obituary – the last call, the final farewell, the closing shindig (likely the only remaining time you’ll be the centre of attention), basically a public invite looking for a person’s friends and family to come together for one last time to say goodbye, to tell stories, and to find some solace in closing the book on a man or woman’s story. . . but is it truly the end? Opening with an obituary, first time filmmaker Ari Aster’s Hereditary transports us into a reeling family dynamic, a group that have about as much promise in their lineage as the Usher’s (the Edgar Allan Poe characters, not the hip hop/pop artist). With mental illness coursing through their blood, Annie Graham (Toni Collette) did not exactly have a great relationship with her mother – often estranged, the elderly lady, who lived with dissociative identity disorder, ended her days dealing with dementia, further adding to the enigma that was her highly private life.