It's a precise urge, and catalogues serve it badly. Filing a space opera, a fantasy tale and an adventure film together under "science fiction" says nothing about what you're going to feel. All three take you out of the real world, but not through the same door: one through scale, another through strangeness, the third through movement.
In CUT., the "Leave the real world" mood groups those three directions and lets the image tell them apart. A shot of a starship and a shot of an enchanted forest are never confused for a second when you see them — even though, written down, they read very much alike.
That's the practical gain: within seconds you recognise whether a film matches the elsewhere you're after tonight. Is the world worth the trip, does the staging hold up, is the atmosphere contemplative or nervy. Those questions are settled by eye, not by reading. Then the title page tells you where to watch it.