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By John Moore

THE HUNT (Universal) The Hunt’s release was sabotaged in part because pro-Trump conservatives – who had not watched it – painted it as an example of “Liberal Hollywood” showing their contempt for Trump supporters by having them hunted for sport. Ironically, it’s the liberals in the movie who come off as the obvious villains here, led by a satisfyingly vicious Athena Stone (Hill ary Swank). The plot does center on a group of wealthy, out of touch liberals who decide to kidnap Trump supporters, knock them out, fly them overseas and eventu ally hunt them. At the risk of giving too much away, one of the potential victims, Crystal Creasey quickly turns the tables on the NPR-quoting hunters. Along with an inspired story line that holds your atten tion to the very last moments, the movie is crammed with dark twisted humor.

EVIL – SEASON ONE (Paramount) This little talked about series on CBS deserves a much wider audience. The show focuses on a skeptical forensic psy chologist (Katja Herbes) who is paired with a former journal ist studying to be a Catholic priest (Mike Colter) to inves tigate supernatural events that may or may not be tied to demons (think The X-Files in a religious setting). As simplistic as the synopsis sounds it works remarkably well thanks to strong writing and some legiti mately thrilling moments. Thankfully, the show has been picked up for another sea son.

THE INVISIBLE MAN (Universal) There have been countless attempts by Universal to reboot the classic H.G. Wells story, but thanks to an inspired modern twist on the classic tale, the studio has finally turned in possibly the best and easily the scariest telling yet of this classic monster movie. Written and directed by Leigh Whannell, the movie focuses on Cecilia Kass (Elisabeth Moss) who flees her abusive, controlling tech genius boyfriend (Oliver Jackson-Cohen) and tries to start her life again after his death. Thanks to a series of bizarre unexplained happenings, Cecilia begins to suspect that her ex is still alive and even more dangerous. The latest version of this story is both remarkably contemporary and surprisingly believable making it that much more terrifying.

THE KING OF STATEN ISLAND (Universal) Judd Apatow’s latest – released into the wild digitally when COVID shut down movie theaters – has a lot of the hallmarks of his other movies (Trainwreck being the only real exception): An immature man boy; humor wrapped around emotional drama; and about 20 mins. too long. The movie centers around Pete Davidson’s Scott, a 20-something slacker whose firefighter father died when Scott was 7. He lives with his mom and spends his days getting high with his buddies and giving bad tattoos. His routine and life are knocked out of whack when his mom starts dating another firefighter. Davidson is flat, pretty much playing every character he does on SNL, but his co-stars, Marisa Tomei as his mom and Bill Burr as her new boyfriend do all the heavy lifting flawlessly and make up for Davidson’s one-dimensional character.

A TRIP TO GREECE (IFC) The third part of a trilogy with the same characters, originally run as a TV show in the UK but edited into a movie, A Trip To Greece finds Steve Coogan and Rob Brydon essentially playing fictionalized versions of themselves. The two sort of friends spend almost a week in Greece visiting restaurants and Greek ruins and debating everything from history and democracy to relationships and just about everything in between. The duo, though both pretty unlikable in character, make for compelling viewing. A solid end to this trilogy.