Kung Fu Panda 3 concludes on a definite high note, filled with eye-popping animated set pieces as well as thrilling story beats that I was perfectly entertained by. If it is the end of the road for this particular hero, he certainly goes out a winner. In other words, this sequel is a total Skadoosh! and there’s not a heck of a lot more to add.

“I like to explore relationships. I like to explore how we understand ourselves through these relationships.”

But it’s all for naught, and while I can’t say what transpires ends up making The Boy a bad film, it does have the unfortunate effect of making it a less interesting one, one I’m not altogether certain is worthy of the second look a big part of me wants to grant it.

While this story is smothered in tragedy, there is something poignant and cathartic about what Saul is attempting to achieve, all of it speaking to a form of spirituality and faith that crosses religious barriers to become something universal and timeless.

“I want [people] to realize that this is something different. I want them to be open to the experience of Anomalisa, that they connect with it, that they don’t limit themselves to the conventions of what animation or drama are supposed to be. That would be great.”

I won’t say The 5th Wave is the worst thing I’ll see this year, but it might be one of the films that ends up wasting the most inherent potential.

Ip Man 3 is a reminder just how talented this international superstar continues to be. [Donnie Yen’s] performance is glorious, the actor embodying this martial arts legend with grace, dignity, passion and charisma to burn. As wonderful as many of the other components might be, he remains the number one reason for interested viewers to watch this sequel and continues to be the primary one by which I wholeheartedly recommend they do just that.

The movie is a mixed bag, but one filled with imagination and ingenuity, and as such as nuts as Monster Hunt proves to be it’s also just enjoyable enough to make dealing with its wildly perverse lapses into pandemonium worth enduring.

Gilda is a classic, no ifs, ands or buts about it…[No] matter how one chooses to look at it director Charles Vidor’s 1946 effort is essential viewing. More than that, though, it’s just a damn entertaining movie, Rita Hayworth and Glenn Ford sensational, while the film itself is a fun, bewilderingly sexy, heartlessly dark frolic into obsession and lust so far ahead of its time 70 years later it still feels risqué and groundbreaking.