Covering the dutiful Denis Villeneuve retread of DUNE and Todd Haynes’s more exciting guided tour of seminal art rock/protopunk band The Velvet Underground.

The latest resurrection of prolific killer Michael Myers, courtesy of David Gordon Green, Danny McBride and Blumhouse; guessing that next year’s HALLOWEEN ENDS won’t be the end of Michael if money can still be made.

Discussion of NO TIME TO DIE plus two of its predecessors in mixing high drama into the license to kill plus escapism formula (THE LIVING DAYLIGHTS and THE WORLD IS NOT ENOUGH).

Review of Paul Schrader’s latest fillm THE CARD COUNTER, the latest in his God’s Lonely Man narratives. Plus the non-artistic, but occasionally effective sequels to the first two Carpenter/Hill HALLOWEEN films (kudos to Danielle Harris).

Begins with tribute to the late Michael K. Williams, mentioning his role in John Leguizamo’s CRITICAL THINKING. Also reviews of Clint Eastwood’s latest curtain call CRY MACHO and Nia DaCosta’s sequel/reboot to CANDYMAN.

Reviewing the faux BLADE RUNNER Irish science fiction ZONE 414 with Guy Pearce, plus Noah Baumbach’s MR. JEALOUSY (1997) and Claude Chabrol’s A DOUBLE TOUR (1959) with the late Jean Paul Belmondo.

Discussing the new documentary BITCHIN’: THE SOUND AND FURY OF RICK JAMES and the Leos Carax/Sparks experimental musical drama ANNETTE (plus predecessors PENNIES FROM HEAVEN, NEW YORK NEW YORK and DANCER IN THE DARK).

Beginning with a discussion of horror director Lucio Fulci’s Italian Western costarring Franco Nero and George Hilton. Also discussed: Liesl Tommy’s misfired authorized Aretha Franklin biopic RESPECT and Gracie Otto’s anecdotal rock documentary about George Martin’s decade-long AIR recording studio in Montserrat (UNDER THE VOLCANO).

Discussion of Lisa Joy’s neo-noir romance REMINISCENCE and Lewis Gilbert’s wife-killer noir CAST A DARK SHADOW, plus Tom McCarthy’s Americans in trouble abroad character study STILLWATER.

Reviews of the mildly entertaining legal drama/caper comedy NAKED SINGULARITY and the artificially contrived CODA, which was a Sundance favorite but plays less well on big-screen TV.