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First, let me say that there is not a single "Alien series franchise" I would pass on, including this one. Who wouldn't want to see the next Xenomorphs, brilliantly conceived years ago by the Swiss artist H. R. Giger, as they continue to terrorize hapless (and often hopeless) victims? And let's give Ridley Scott some credit here: It's not easy to coax a film franchise forward after such monumental creative efforts as his Alien (1979), or James Cameron's Aliens (1986). Where do you go from there?

Alien: Romulus, directed and co-written by Uruguayan filmmaker Fede Alvarez, doesn't try to exceed those aforementioned titan films. Instead, Alvarez takes us back to 2142, roughly the period between Alien and Aliens. And instead of Sigourney Weaver, there's Rain, an equally ferocious-minded female protagonist (played by Cailee Spaeny). Incidentally, she's wonderful in this role!

There is a lot of well conceived, claustrophobic action, which takes the storyline in a direction I hadn't expected. And that's a good thing. But don't fret. The Xenomorphs still have deadly corrosive acid for blood, awful, sticky secretions, and nightmarish projecting jaws. It's all there, plus a handful of very unexpected surprises. Alien: Romulus is easily the most graphic film of the series. There are several "cringe worthy scenes," which ultimately makes it much more terrifying than any of the previous Alien series.

And that's the true Yin and Yang of this film. Even as you get used to seeing some of the more familiar images, opposing forces interact to add to the dynamics. And in this way, Alvarez demonstrates the whole is genuinely far more riveting than the individual parts.

No spoilers here as usual, but I will reveal that the time period of Alien: Romulus takes place 7 years after Alien Covenant (2017). It is also a direct sequel to the original Alien (1979), arriving in theaters 45 years later in 2024.

"Billy & Molly: An Otter Love Story," is arguably one of the most life-affirming films of 2024. Think of the Academy Award-winning documentary, "My Octopus Teacher" (2020), except one of the principal characters is a cuddly female Otter.

In brief, Billy & Molly is a true story about a married, childless man, "Billy," and the beautiful bond he develops with a young recently orphaned Otter, whom he names, "Molly." Billy's love for Molly grows nearly exponentially as the film unfolds. Some might say Billy is overly obsessed with Molly. But I think it's far bigger than that.

Man and Nature have always shared a very dense and complex relationship, but Billy and Molly's connection is unusually pure and simple. Basically, Molly needs Billy to survive, yet, as their mutual trust develops, Billy suddenly discovers how much he actually needs Molly too. Their unique connection reflects a universal theme that surely will resonate with anyone who has a genuine respect and admiration for nature, and an understanding of our own important role as the default "Custodians of Planet Earth."

To quote Charlie Hamilton James, the brilliant director and director of photography, "We've got a happy story. My hope is that people walk out with a smile on their face, and they're enlightened in some way, and for a few brief moments in this current world, they can smile and be happy."

No spoilers here as usual, but I will reveal that Billy and Molly was filmed entirely in Scotland's Shetland Islands, and the striking cinematography is stunningly stark yet nakedly beautiful.

If Tim Burton had directed Barbie (2023), portions of it might have looked like Poor Things. Try to imagine Edward Scissorhands (1990) but filmed as an exaggerated Greek Tragedy. Director Yorgos Lanthimos (a Greek himself) has courageously woven human discord and emotion into a complicated and curious tangle of horrific comedic threads. It's difficult not to find yourself staring at the screen. Did I just see that? Did I just hear that? Yes, you certainly did.

If graphic frontal nudity, a plethora of heated sexual encounters, and cold corpses being dispassionately dissected bother you, then pass on this film because there's a lot of it. On the other hand, Poor Things may be the most didactic and entertaining film in decades. Nearly every scene is strikingly bizarre, with performances and dialogue to match. Indeed, there are certain scenes (in vivid black and white) that recall director Terry Gilliam's The Adventures of Baron Munchausen (1988). Poor Things is very surreal. But more often than not, it is also awkwardly and uncomfortably real. And that's the real magic here - the unreal becoming very real, like a child, discovering for the first time, that our Earth is truly not flat.

Emma Stone (Bella Baxter), Mark Ruffalo (Duncan), and Willem Dafoe (Dr. Godwin Baxter) shine brightly as intensely conflicted characters you like to watch, but secretly pray to never have to meet in person. Yet, their unique odyssey of connections and interactions is quite astonishing and fascinating.

No spoilers here as usual, but it should be no surprise to anyone that the incredible performances of the cast include an Oscar winner (Emma Stone), and two Oscar nominees (Willem Dafoe and Mark Ruffalo).