Discussing, briefly, ONE BATTLE AFTER ANOTHER, and where I think it should be placed in the Paul Thomas Anderson pantheon. Then, it’s on to AFTER THE HUNT, which wants to provoke in a lazy right-tilting fashion where #MeToo is treated like a Mark of Cain inconvenience for successful people asked to be accountable for misconduct/coercion/assault—plus there’s a side order of Trump-ish excrement thrown at perceived over-sensitive university students by professors/staff. Finally, there’s BLACK PHONE 2, which meanders and gives Ethan Hawke’s Grabber an origin story—and only connects when Madeleine McGraw’s Gwen is onscreen in grainy dreamscape scenes which evoke Zach Cregger’s WEAPONS more than Blumhouse horror fare.