Not so much the true story of the ski jumper’s path to the Olympics as one that enjoys playing in a fertile genre playground reminiscent of Rocky, The Rookie, Hoosiers and, of course, Cool Runnings, [Eddie the Eagle] is an enjoyable lark, and much like the man at the center of it all ends up being virtually impossible to dislike.

[Gods of Egypt] is beyond stupid. At the same time, I got the feeling that Proyas realizes this, and, instead of trying to mask the inherent absurdity of what is transpiring, he pushes it front and center, reveling in the unabashed lunacy as if he were making a Loony Tunes cartoon and not a budget-busting Hollywood spectacular.

Hillcoat remains a director on the rise, and there’s nothing about Triple 9 that makes me question that assessment. But the movie never realizes its inherent potential, riffing too much inside the world of genre classics that came before it rarely charting a course that could even slightly be considered original.

I really enjoy The Good Dinosaur, and while the film is far from Pixar’s best it has a pleasing, universal quality that’s virtually impossible to deny.

Race means well, and it certainly wants to tell Owens’ story as completely as it can. Yet Hopkins and company never quite get there, the whole enterprise coming up a little short of the finish line as it lumbers its way down the track.

Still, the delicacy of Reynolds’ approach is impressive. I liked that he doesn’t stuff dogma down the viewer’s throat, that he allows each step of Clavius’ journey to speak for itself…If Risen (2016) isn’t transcendent, if it doesn’t, well, rise to the occasion, it’s arguably not for the lack of trying.

A superlative achievement that transcends genre conventions to become something unique and timeless, The Witch is destined to be a movie I’m going to be pondering, dissecting and extolling the virtues of for the remainder of 2016.

“[It’s] about having restraint. I can’t look into your soul. I don’t know what is the most scary to you so I have to hope that I can depict what is most personal and scary to me and then hold back and let the last bit be something that you fill in yourself. That’s the idea.”

I think The Secret in Their Eyes holds up much better than most critics are likely going to say it does. Billy Ray’s remake stands on its own. It also features one of Julia Roberts best performance, the actress going to unnervingly deep emotional places in order to bring her character to life.