Things to Come is astonishing, bringing delicate truths into the glaring light of day that are as timeless as they are universal, Hansen-Løve showing just how less can indeed be more when the hands sewing the pieces together into a seamless whole are as confident and as talented as hers are.

The problems with the script and its subsequent execution are readily apparent throughout, and as strong as the acting might be that wasn’t enough to warrant enduring this facile disaster any longer than was necessary. Collateral Beauty is a waste of time, and I just don’t see myself reassessing that verdict anytime soon.

With Rogue One, Edwards doesn’t attempt to redo what has come before, isn’t interested in any already established template. He and his team have crafted a film that exists inside a known universe yet still manage to plant their own idiosyncratic stamp upon it. This is a marvelous piece of entertainment, as wondrous as anything I’ve seen in 2016.

Beyond the Gates, while far from a masterpiece, is hugely entertaining if one is in the right frame of mind when watching it. Stewart has crafted a debut that looks terrific and sounds even better, while his ability to shock and startle with an increasingly awesome array of gore effects is impressive.

How Evolution transitions from its humbly mysterious initial sequences to its quietly disquieting final seconds, that’s its real glory, and the fact Hadzihalilovic can weave such an uncomforting spell as magnificent as this is cause for instant celebration.

Miss Sloane tells a story that feels like it was ripped right out of yesterday’s headlines, that coupled with Chastain’s magnificence helping make the film a gripping spellbinder worth seeking out.

When it is funny, Office Christmas Party can be a hoot, and it’s always nice to see firebrands like McKinnon getting an opportunity to strut their stuff so magnificently. But Gordon and Speck can’t hold it all together, things spiraling in so many different directions their bits of emotional pabulum that they toss in willy-nilly throughout fall achingly flat.

Gillespie has obviously learned a lot from his time working with Wheatley, but that doesn’t mean he’s able to deliver on his promise this first time out of the gate, the nihilistic lunacy of Tank 432 coupled with its ridiculous implausibility leaving me coldly indifferent to the director’s high-concept debut.

“You can’t tell people how they are supposed to feel. What some people do when they watch the movie is they project themselves into it, and I think that’s neat. I think that’s what people should be doing. You make a movie, once it gets out there, it’s no longer about me, it’s about the viewer. It has to be able to take whatever it gets from them. That’s how it is. That’s also how it should be.”