I have this sneaky feeling I’m going to want to watch Louder Than Bombs again, that one second viewing many of the parts that aren’t sitting particularly well with me right now might become ones I have a whole new appreciation for when the film is given another look. All the same, Trier’s latest amazes far more often than it disappoints, the emotional highs it generates ones that caused the hairs on my arms to stand straight up in awe every time I was lucky enough to experience them.

This is more than a simple impersonation, although it’s obvious Cheadle has done his homework. No, the vaunted character actor digs so much deeper than just being content to become Davis’ modern day mirror image, his constant emotional virtuosity a sensational counterpoint to the nonlinear story beats being presented in their own, eccentrically individualistic fashion.

Not so much a sequel to My Sex Life as it is a look at Paul Dédalus’ life and times from a more evolved perspective, there is a melancholic urgency to this recollective melodrama that is undeniable. My Golden Days isn’t perfect but, much like our memories of our own youth I’m not entirely certain it is meant to be, and as such the film becomes a far more emotionally powerful endeavor because of this.

As a movie, there’s plenty here to respect. As entertainment, however, this is tough one to enjoy, all of which makes Criminal (2016) a vexing spectacle that’s hard to watch all the way through to its end.

Favreau’s take on The Jungle Book is a revelation certain to thrill audiences for many decades to come, and trust in me when I say the bare necessity is to stroll right into town and be like the other ticket buyers tired of monkeying around with subpar cinematic options. No worry. No strife. Just glorious entertainment the whole family is virtually guaranteed to enjoy.

While there’s plenty about The Boss to appreciate, I’m just not certain there’s a great deal to like, the difference between the two ultimately making the finished film an entertainment business opportunity I’d personally pass on.

While some of the pieces can be a little haggard, more often than not this feels entirely by design, Demolition (2016) a cinematic deconstruction of expectation and cliché, all of which results in a moving marvel of self-actualization I think I just might be in love with.

Everybody Wants Some!! is just so dark likeable, so lived-in and authentic, so lovingly acted by its cast of relative newcomers and unknowns, the fact it is entirely content following the men and only the men ends up being kind of okay. More, the movie respects its audience in a way few of these coming-of-age comedies ever do, and while not a home run for Linklater, it’s still a solid triple off the wall I’m certain to still be cheering for throughout the remainder of 2016.

Eye in the Sky is still an incredibly effective thriller that gets the blood boiling while also challenging the intellect. It does not skimp on thrills, things building to their conclusion with a swiftly building ferociousness that’s impressive.