By LILLY GUENTHER

From history to horror, American cinemas are anticipating many film releases in 2020. Here are some movies to expect in the beginning of the year.

Starting off with a scare, The Grudge, a reboot of the 2004 film, was released on January 3. This tale of a vengeful ghost and the curse that dooms those who enter her home to a violent death has been highly publicized, but has so far undergone harsh review. Rotten Tomatoes delivers their consensus, rating the movie at an 18% and calling it “dull and derivative.” Is this movie a terror or a total failure?

For comedic relief, check out Like a Boss, a feel-good, power-of-the-woman film starring Tiffany Haddish and Rose Byrne. Business partners and best friends Mia and Mel tackle problems in their cosmetic company duo with a motto, “The beauty business is about to get ugly.” Rotten Tomatoes rates 21% while audience score it 65%. 

 Released on January 10, The Woman Who Loves Giraffes reflects on the work of “giraffologist” Anne Innis Dagg, recounting her triumphs and downfalls observing these creatures in the wild, as well as calling attention to today’s enviromental issues, narrated by Dagg herself. Rotten Tomatoes rates this heartwarming story a 100%. 

If you’re thirsting for action, dive into Underwater, starring Kristen Stewart. IMDb summarizes, “a crew of aquatic researchers work to get to safety after an earthquake…but the crew has more than the ocean seabed to fear.” Rated 49% on the Tomatometer, and 61% by audience. 

In another lighthearted contrast, we have Doolittle, the third reincarnation of the 1967 film, starring Robert Downey Jr. Dolittle embarks on an adventure to a mythical island, and makes interesting friends along the way. While the adaptation has been criticized in the industry, audience rates it 76%.

Turning the tables once again, we have The Turning, the unsettling story of a nanny apppointed to a house with dark secrets. Both Tomatometer and audience rate this film, labeled “stylish but muddled” at 13%. 

The year is off to an interesting and constrasting kickoff in film, but how will it continue?