This is a pretty fucking dire week in terms of quality, to the point that there’s not really much I have any interest in talking about (go buy Criterion’s latest Harold Lloyd release, The Kid Brother, and that’s about it). But I should talk about the marquee title, which is, I’m sorry to say, Green Book. Green Book is barely passable on the level of a “slob meets snob” road trip comedy and contemptible when viewed as anything resembling a social statement (in the justified outrage over everything else about it, they missed that it’s also some #NotAllCops bullshit), and the lead performances that allegedly make it so winning are just a jar of marinara in people clothes and a man with a stick so far up his ass it’s poking out his forehead. It’s also a tremendous disappointment visually, with Sean Porter, the incredibly talented cinematographer of 20th Century Women, delivering the generically glossy look of a People magazine shoot. But at least Porter now has the interesting trivia of being the cinematographer on both the most egregious Best Picture snub of the decade and the worst Best Picture winner of the decade.

The Craft (Shout Factory)
Fantastic Beasts: The Crimes of Grindelwald (Warner)
Green Book (Universal)
The Kid Brother (Criterion)
Kolobos (Arrow)
The Magic Flute (Criterion)
Man from Atlantis (Warner Archive Collection)
Man’s Best Friend (Shout Factory)
Mortal Engines (Universal)
Neighbors (Mill Creek)
The Prisoner (Arrow)
Someone to Watch Over Me (Shout Factory)
Tyrel (Magnolia)