Before you go all “No WAY” on Daniel Craig upon viewing his Spectre stunts, several great Bond questions of our time — including “Can James Bond fly a helicopter upside down?” and “Will a circus tent save your life?” — have been answered by boffins from Engineering and Technology magazine.

It’s about Hollywood! It stars Bryan Cranston and Helen Mirren! Dare we say “Oscar bait”, Trumbo? (Letterboxd pal and former well-known Middle Earthian dwarf Dean O’Gorman stars as a young Kirk Douglas.)

Letterboxd user David Ehrlich has probably tweeted the word “Carol” eleventy billion times since he saw Cate Blanchett and Rooney Mara fall in love at Toronto. Hard to tell whether he’s a fan. Just jokes, David. We’re looking forward to this one as much as you are.

The new trailer for Star Wars: Episode VII – The Force Awakens was watched more than 100 million times in the first 24 hours after its release. Absolutely no surprises there.

Sam Rockwell, Jemaine Clement and Amy Ryan search for The Holy Grail in Don Verdean, the new movie from Jared Hess.

Quentin Tarantino’s The Hateful Eight, due at Christmas Day in the US, has an official trailer.

And speaking of waterlogged epics, Finding Dory has a teaser trailer, in case you’re on board with yet another Pixar sequel.

“First off, it isn’t even remotely scary, and for a horror film that’s kind of a biggie. Del Toro seems to actually believe that shoving CGI decaying ghosts in our faces can compensate for the total lack of real scares or tension. The gothic set design does go some way to making a half decent atmosphere, but that’s undercut by the horribly haphazard direction.

“Now some have argued that it isn’t a horror movie at all, more a tragic gothic romance, but I call bullshit on that. Partly because, as said above, the romance is putrid and clichéd beyond all hope, and partly because it desperately attempts to scare us multiple times with shrieking violins and CGI so dated it looks like a Final Fantasy cutscene.

“Above all else, Crimson Peak is just dull as dishwater.” —James Haves

“No other filmmaker working today understands the transportive, mythic resonance of cinema the way Del Toro does… Crimson Peak is another masterpiece from him, but it’s also wildly different from his other films while retaining all the trademarks that make his work so singular and magical. Of course the production design is on point and the color palette is gorgeousness and gorgeosity made flesh. Of course there is meticulous clockwork and ghastly gears and insectoid fetishism.

“But what blew my period wig back with this was the strong emotional connection I felt to its characters, the heartbreaking sadness of it all. I was swept up in the romance, captivated by the dilapidated aristocracy. Hiddleston is sooooooooo goddamn good. Like, holy hell is he good. Mia Wasikaski (or however it’s spelled) [Wasikowska — Ed.] is tremendous in an exceptionally difficult role and Chastain is purely malevolent bliss. I loved this to death. It is so unique and special. A morbid diamond in the rough.

“Of course it bombed. Pearls before swine.” —MattRisnes

“I still refuse to accept this as a non-horror film. It’s horror sci-fi at its finest. What makes it horror is not the fact that the titular monster is terrifying, but that the film is basically a slasher in disguise. Science fiction is a tool for us to question our place in the universe as a species, an existential and rhetorical question we ask ourselves through story. Alien features very little of this – indeed, when our space truckers find a derelict alien ship on a hostile world, they’re very unimpressed by the fact that they’ve essentially just proven the existence of extraterrestrial intelligence. Only Ash and Kane seem to care the slightest bit, and even they do not spend a great deal of time struggling with their conception of humanity now that aliens are thrown into the mix of existence (of course Ash is a robot, so can’t quite do this, but still).

“The monster design is one of the best in literary and cinematic history. No eyes, alarmingly sexual in the worst ways, glistening and smooth and machinelike while still very much organic. It’s no wonder this creature spawned a franchise that moves across multiple genres. Giger’s art direction through the film is impeccable and unique. It creates a movie universe unto itself, a dark and dangerous one that alarms us as soon as we see that first startling glimpse of the alien spacecraft through the helmet camera.” —Ethan C. Fardoux

It could have been so great, but where were The Misfits? A theory about why Jem and the Holograms didn’t work.

Not enough Horror in your diet last month? Lyzette’s list of women-made horror is inspired. Meanwhile, Popoptiq.com tackle the topic of Jump Scares, “the purest form of scare”. There may be some spoilers in there.

A list of 100 overlooked films directed by women for those doing Women in Film’s #52FilmsByWomen challenge…

Practical effects fans! Here’s an ingenious list pitting Tom Savini against KNB EFX Group.

Hey, America, we like to look at you. A list of films casting foreign perspectives on the United States.

Are you in a “semi-erotic 80s / 90s crime / espionage thrillers / dramas where Dennis Quaid & Ellen Barkin & others were dead sexy titans of cinema” kind of mood this Noirvember? Check out David Raposa’s list Cocaine Noir.

Finally, a man walks into a bar. Some drag queens follow. Hot coffee goes flying everywhere. The end.