I also noticed they seem to have changed the name of the paramilitary org that Bloodshot works for; it's Project Rising Spirit in the comics. I thought they were going for a shared Valiant Cinematic Universe here and, if so, PRS should presumably play a major role bridging Bloodshot with the upcoming Harbinger movie. Maybe the PRS name will come up later in the movie or something.
I think Vin Diesel is a good casting choice and it could end up being a pretty good movie, though I'm more of a Harbinger fan. (And as you may have noticed, my favorite Valiant comic is Quantum and Woody, which, last I heard, the Russo brothers were developing for TBS.)
Everyone I went to see The Lighthouse with pretty much hated it except for me, so your mileage will vary. Robert Eggers follows up The VuhVitch with another period tale of unintelligible dialogue (seriously, either hope you end up in a theater with a good sound mix or just wait to be able to watch it with subtitles on), but while it has the droning fog horn tension and slow creeping madness of a good horror thriller the film is really best enjoyed for what it actually feels like: a screwball odd couple comedy. Robert Pattinson and Willem Dafoe are fucking fantastic as an apprentice lighthouse keeper and his mentor Captain Horatio McCallister as they bitch and squabble and fart at one another in an absolutely gorgeously shot black and white nightmare of a movie. I really, really liked it, but three out of four movie goers disagreed in my sample size.
Doctor Sleep ended up being a crowd pleaser with the same group on the other hand. Mike Flanagan is a director who I'm pretty much in the "can do no wrong" camp with these days, and he manages to thread an impossible fucking needle of doing a direct sequel to both Kubrick and King's The Shining all in one story. I haven't read the source material, though the lady's reading it right now and tells me she preferred this adaptation so far. Ewan McGregor gives a fantastic performance as a grown up Danny Torrance (and it feels like he spends much of it very subtly folding in Jack Nicholson's vocal tics in a way that feels natural for a son to have picked up from his father without devolving into schtick), but Kylie Curran just about runs away with the movie as the new kid with a powerful shine and Rebecca Ferguson chews up the scenery as the villain. It's still (as the only thing I ever heard people say regarding the novel) a weird fucking sequel about an RV full of hippie vampires eating people with the shining, but the movie works shockingly well. We watched the original the night before, which will do a lot to help you appreciate the parallels, though it will also make it slightly harder to lose yourself against the re-cast characters like Wendy and Halloran who split the difference a little between playing the characters and imitating the actors they're reprising.
And then there's Knives Out and I will personally kick everyone who does not go to see this in the theater if it means that I never get another Benoit Blanc movie. Benoit Blanc is Daniel Craig's southern-fried take on Hercule Poirot here in Rian Johnson's 2019 version of an Agatha Christie novel, taking all of Christie's heightened archetypes of then-contemporary murder suspects and transplanting them directly into our modern concepts of privilege and politics. You've got the flighty GOOPy liberal wellness guru (god I love Toni Collette so much), the soft spoken racist who's just concerned about his legacy and culture (a very against type Michael Shannon), the iron-fisted eldest sister become de facto matriarch (Jamie Lee Curtis), the shitty little troll boy on his phone all the time being a Nazi (one of the kids from It), the super bad boy with the slicked back hair who mutually hates the rest of his family (Chris Evans back in full on smarm-mode) -- there is basically not a single thing subtle about the entire movie, especially not Craig's ludicrously fantastic accent. Blend all of these personalities and more into a drawing-room murder of the family's patriarch, add in large sums of inheritance and several good motives, and then twist the whole thing around with Johnson's love of being very Clever, and you get the most fun damn thing I've seen in theaters in quite a while. Is it better than The Brothers Bloom (my personal Johnson gold standard)? I'm still chewing on that one, and probably not, but it comes close.
The elevator pitch is "Shaun of the Dead meets High School Musical". I assume. I've never seen High School Musical.
Anyway, watch this musical number and it should serve as a pretty fair indicator of whether this is a movie you want to see. I enjoyed the fuck out of it and I believe I will be adding it to my Christmas canon.