Director Scott Derrickson takes viewers to inner space, to a dimension far behind our mystic ken, in which a lone man is forced to confront a baddie so mystically bizarre that he doesn’t even have a body.

Quentin and Nancy are such an awesome team because they intellectualize a plan that doesn’t relegate them to stereotypical gender norms.

Without Weaver’s influence both on and off the screen, there would be no Sarah Connor. No Bride. No Lara Croft. No Alice. And no Furiosa.

The result is a well-done adaptation that demonstrates how to adapt well.

Overall, Hell or High Water is an understated neo-Western, neo-noir that deserves whatever attention it gets.

That brings us up to 2016’s SiREN which, mercifully, was not a found footage piece.

Michelle Rodriguez was pretty much a badass from the beginning.

On a scale of Karloff/Boyle to DeNiro, Mullen is definitely closer to the Karloff/Boyle side, and she has a scream queen presence second only to Cassandra Elvira Petersen.

At the time though, the show meant so much more to me than mere entertainment. Buffy the Vampire Slayer became an integral part of my survival.

It’s a little late to deepen the mysteries of a confusing, frustrating season, but I suppose signs could indicate the final four episodes will be a sustained blast.