Everything is decidedly not like it seems in the slow burn B-movie Emelie, a crafty psychological thriller that reveals its cards relatively early on but then takes its time uncomfortably playing them. Unsurprisingly, Anna isn’t who she claims to be, but what she wants with the Thompson’s? Why she is in their home? That is a little harder to figure out, the answer a truly terrifying revelation that got so completely under my skin I could feel the reverberations running through my veins long after the film itself had come to an end.

Unlike the first film, [London Has Fallen] never takes itself seriously. At the same time, it amplifies the violence and the jingoism to stratospheric levels…It’s just plain nuts, walking a surreal line between being irredeemably offensive and goofily enjoyable with astonishing aplomb.

I really liked The Wave (2015), liked it a lot. While it doesn’t do anything new, Uthaug’s latest genre excursion just does what it sets out to do so gosh darn well, the lack of originality or innovation isn’t the type of problem it would have been had lesser hands been guiding the production.

If Zootopia isn’t the same sort of sensation that Tangled or Frozen were, that doesn’t make it any less wonderful. Reminiscent of Wreck-It Ralph, the film is another winner for Disney proper (i.e. non-Pixar related) and shows the studio is still a force to be reckoned with where it comes to their animated offerings.

Not to overuse or waste a cliché, but Creed is a knockout. More than just a next chapter in the ongoing Rocky saga, Ryan Coogler’s film stands proudly and dynamically on its own, this inspirational sports melodrama an outstanding piece of pulp entertainment almost certain to stand the test of time.

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.