I remember co-star Seth Roben recently saying that Spielberg was in tears for nearly the entirety of his shoot with him. I'm sure he was. That doesn't mean the rest of us were crying – except, possibly, at the sadly wasted opportunity of it all.

Ingenious, unsettling, and oftentimes riotously funny, director Mark Mylod's The Menu has been prepared exactly the way I most enjoy my satire: blackened to a crisp. While its thematic and presentational inspirations are unhidden and encompass everything from Hell's Kitchen to Midsommar to Fantasy Island, what this savage comedy chiefly reminded me of was Don't Look Up, last year's end-of-days spoof that ended on the bleakest of all possible notes.

A co-presentation of the Figge Art Museum, the Project of the Quad Cities, and the New York-based non-profit Visual AIDS, the Davenport venue's December 1 screening of Being & Belonging will acknowledge the 2022 Day With(out) Art in a program of seven short videos, all of them highlighting under-told or even untold stories of HIV and AIDS from the perspective of artists living with HIV across the world.

Held in conjunction with National Pearl Harbor Remembrance Day, the December 7 screening of An Infantryman from Hero Street will find local Emmy Award-winning filmmakers Kelly and Tammy Rundle of Fourth Wall Films sharing their moving new documentary with patrons at the Moline Public Library, this latest work in the Hero Street series followed by a question-and-answer session with the area talents.

All throughout writer/director Ryan Coogler's superhero sequel, there are lovely grace notes, particularly in the actors' readings, that both suggest and demonstrate the haunting loss of original Black Panther T'Challa and, by extension, his unmatchable portrayer Chadwick Boseman. Nearly everything directly concerning the character's and the star's absence is moving. It's nearly everything else, unfortunately, that goes wrong.

In the Figge Art Museum's current Film at the Figge series, the Davenport venue is screening international, award-winning works that deal with death, loss, and grief in unexpected ways, and the affecting and arresting lineup continues on December 15 with It's Only the End of the World, Xavier Dolan's award-winning French-Canadian drama lauded by The Guardian as a "brilliant, stylized, and hallucinatory evocation of family dysfunction."

As familiar as I am with the oeuvre of Martin McDonagh, I couldn't necessarily teach a course on the playwright/filmmaker's darkly comedic stage and screen works. But if I could, I would likely start with The Banshees of Inisherin, an absolutely delightful (if slightly grim) reunion for In Bruges co-stars Colin Farrell and Brendan Gleeson, and one that seems to boil its creator's signature style down to its absolute essence – yet in unexpectedly tender fashion.

No two-hour-and-40-minute movie about inappropriate transactional relationships, cancel culture, the #MeToo movement, and the challenges of conducting Mahler's 5th Symphony should be this much freaking fun.

A two-day event showcasing and supporting Midwestern artists, the Muscatine Music & Independent Film Festival will be held at the Muscatine Performing Arts Center on November 4 and 5, with daily showings of nearly 50 short movies and music videos, and live performances by eight gifted acts following each day's screenings.

No matter its other pluses and minuses, and they're mostly minuses, director Jaume Collet-Sera's Black Adam is certainly one of the oddest comic-book blockbusters I've yet seen, in that it somehow feels like both a superhero/villain origin story, which it is, and the final installment in a three-part series, which it isn't. Then again, maybe I was just hoping it was a trilogy-ender, because after only two hours in the film's company, I think I've already had enough.

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