For as impressive as Dan Trachtenberg’s (10 Cloverfield Lane) Prey, the origin story of the successful Predator franchise is, it’s a travesty that this movie did not receive a theatrical release. From Forbes.com about the movie’s release to Hulu/Disney+, over a theatrical run.
Since ‘Prey’ was a holdover before Disney bought Fox in 2019, the potential for post-theatrical streaming boosts was contractually limited. Had it been released in theaters, its post-theatrical afterlife would have begun not on Disney+ or Hulu but on HBO Max. However, if Disney wanted the film in theaters badly enough, they likely could have worked out a post-theatrical deal akin to ‘Death on the Nile,‘ which premiered at home after its theatrical run on both Hulu and HBO Max. It didn’t, so theatrical was never in the cards.
Everything Everywhere All At Once has slowly and quietly followed the established A24 template, a studio known for releasing groundbreaking, original, and independent movies. Through initial word of mouth, the co-directed film by Dan Kwan and Daniel Scheinert (who also co-wrote), Everything Everywhere All At Once, has become a movie everyone has at least heard of, even if they have not seen it. Other nonconventional A24 films that generated a lot of buzz and earned Best Picture nominations in the last half dozen years include 
I love a good survival film. Before starting a recent movie, the trailer for Małgorzata Szumowska’s (Never Gonna Snow Again) Infinite Storm instantly caught my attention. After watching the first half of the adrenaline-inducing preview, I closed my eyes and plugged my ears for the rest. I had seen enough to know that this was a movie that I wanted to see, and I didn’t want anything more to spoil that future experience. Infinite Storm surprised me. While it didn’t have nearly the extended intensity that the preview suggested, it also didn’t follow a predictable formula that would have left this movie lost in the shuffle compared to other survival movies. While a decent film with heartfelt ambition, Infinite Storm failed to wow and was doomed by a lousy script.
Perhaps a perfect popcorn flick for moviegoers who can 
When I write a review this close to the start of a new year, I usually see most of the movies considered for one of the big six Oscar awards. If I don’t, I will usually await the arrival of those limited releases set for a wide release a couple of weeks later. Regardless, most people would have known of all the big-budget or Oscar-worthy movies by the time of a January 1st post. In 2020, all of the rules had changed, and the cinema has not been an exception. Some big-budget movies slated to come out during the year have been tabled until the pandemic ends and will likely come out in the second half of 2021. However, the Academy has made date modifications, which means that films will be eligible for the end-of-year awards as long as they are released by February 28, 2021. It’s usually around the start of the new year when I start watching the final one or two movies that might receive a Best Picture nomination. 2020 is a different kind of beast, and this review is my first of the year of a film that will receive a nomination for that award.