More gothic drama then it is full-on noir, The Red House is nonetheless a fascinating curio piece, and while its emotional components are a little overwrought at times, the power they have over the viewer still remains undeniable making the film an underappreciated gem worthy of rediscovery.

There’s lot to love about The Hateful Eight. The acting is stellar, it looks terrific, and Ennio Morricone’s Oscar-winning score certainly sets the proper tone throughout. But Quentin Tarantino’s latest is sprawling, overwrought and more than a little full of itself at times, it’s second half turn not going to sit well with a number of viewers.

My Big Fat Greek Wedding 2 isn’t a bad sequel, it’s just a pointless one, and as such spending any additional time dissecting it further can’t help but feel like an exercise in meaningless, if still harmless, futility.

There’s not a lot new to any of this, and the surprising twists and turns that transpire during the final act are hardly shocking. But there is a level of quality to They’re Watching that’s a little unexpected, while all of the actors do a fairly terrific job of exploring their respective characters, at least in so much as much as the genre and storytelling dynamics allow them to.

Snyder’s Batman v Superman is loud, obnoxious, lacking in substance and barely lucid enough to make even the slightest modicum of sense. While not the worst superhero comic book adventure ever to grace the multiplex, it’s likely the most frustratingly disappointing, it’s failure unquestionably putting Warner and DC’s future plans in jeopardy.

While I’ve never hated any of these Divergent efforts, this latest one certainly tried my patience to an exasperating degree, Allegiant a tedious exercise in futility even fans of the series will have a hard time finding anything worthwhile to talk about once it comes to an end.

In the end, though, it is Field and Field alone who makes Hello, My Name Is Doris what it is, my affinity for the motion picture growing in leaps and bounds the more I think about her almost effortless brilliance which brings both the character, and the movie itself, to vivacious life.

[Road Games] is well structured, gorgeously shot and confidently directed, and as feature-length narrative debuts go Pastoll’s is a strong one that has me blissfully excited to see what he’s got in store for us all in the very near future.

For a movie that was playing to everyone, to all audiences, to all viewers no matter what their background or faith, to have it suddenly blatantly preach to the converted and to the converted alone is a missed opportunity of massive proportions, making watching Miracles from Heaven at all a serious waste of time.