It's almost surprising that it's taken almost 30 years to make a sequel to Twister, since that film was a runaway hit and the second-highest-grossing film of 1996 (behind Independence Day, which didn't get a sequel until 2016). Perhaps it was the failure of director Jan De Bont's Speed 2: Cruise Control or the fact that it was such a self-contained story, but whatever the reason, it's taken a surprising amount of decades for the studios to return to this particular well.

When I was younger, growing up the 1990s, Batman movies were some of my earliest inklings of my trans awakening. I distinctly remember seeing Michelle Pfeiffer's Catwoman (I wasn't allowed to see Batman Returns at the time, but I was obsessed nevertheless) and thinking "I want to be just like her." While the other little boys wanted to be Batman on the playground, I was always Catwoman.

While Francis Ford Coppola's Megalopolis may have captured much of the attention at this year's Cannes Film Festival, another self-financed passion project by an old-school Hollywood filmmaker made its debut on the Croisette to a much more muted response. Kevin Costner's Horizon: An American Saga - Chapter 1 is the first part of planned series of four films, one of which, Chapter 2, has already been shot and was planned for release in August before it was unceremoniously delayed due to Chapter 1's underwhelming performance at the box office.

If movies were defined solely by their marketing campaigns, then Osgood Perkins' Longlegs would easily be one of the best of the year. Movies are quite a bit more than their marketing campaigns, however, and my feelings on Longlegs are much more muted.

Schanelec's films are often defined by their silences. Often outright defiant of traditional "plot," much of the action occurs between what is actually said, leaving the audience to fill in the gaps as the film jumps through space and time without warning.

On the surface, Janet Planet has all the trappings of a quirky indie comedy from the early 2000s. It's filled with awkward silences, deadpan humor, and characters who do a lot of standing and staring, creating an air of disaffection that creates both an unusual rhythm and a sense of ironic disconnection with the audience.