“[The] sacrifices that Ambassador Chris Stevens made, that Sean Smith made, that Ty and Glen made, for someone to take this story and turn it into politics, turn it into something it wasn’t, it made us mad. We got together and talked as a team and tried to figure out a way to do this. We knew if we just went to the media and said, hey, this is wrong, it would only get spun again. We needed to do something more concrete.”

I don’t know what to make of 13 Hours: The Secret Soldiers of Benghazi other than to say it is as troublesome as it is impressive; and while I respect the director choosing to go out on this particular limb that doesn’t mean I believe he was the right person to undertake the job of doing so.

Academy of Motion Picture Arts and Sciences’ President Cheryl Boone Isaacs, actor John Krasinski and directors Ang Lee and Guillermo del Toro let the world know the nominees for the 88th annual Academy Awards, survival epic The Revenant, dystopian action effort Mad Max: Fury Road, journalism procedural Spotlight and housing crisis comedic satire The Big Short instantly emerging as Best Picture frontrunners.

Flesh and Bone is outstanding. For STARZ, it might just be the best limited series the cable channel has produced yet, creator and showrunner Moira Walley-Beckett crafting a mesmerizing descent into the world of ballet that’s as dark and bleak – yet also as energizing and beautiful – as anything television has seen in quite some time.

Rosencrantz & Guildenstern Are Dead is a cult gem I’m absolutely ecstatic has managed to find its way to Blu-ray. Tom Stoppard’s 1990 idiosyncratic favorite features glorious performances, witty lines and an ingenious premise that makes me grin ear-to-ear just thinking about it.

As beautiful disasters go, Pan is kind of divine. It’s fascinating to watch, filled with sights and sounds utterly unique in and of themselves. None of which makes it a good movie, per se, but it is a fascinating, at times an intently hypnotic one, and as failures go, I’ll take more like this Joe Wright mess every single day of the week.

I’m not going to make the case that Scouts Guide to the Zombie Apocalypse was some unsung, underappreciated horror-comedy classic that was wrongly dismissed by critics and audiences during its initial release back in November of last year, it isn’t and it wasn’t. But the movie does make me laugh, and I can’t help but like the cast and find myself amused by a number of their antics. Also, the gore effects are relatively inspired, and that in and of itself make this one a-okay in my book. So there.

Cherry Tree is the pits, and there’s little more to say other than that.

If only The Forest wanted to be more than it is, attempted to explore the more interesting interpersonal emotional tangents it continually hints at wanting to look at yet infuriatingly never does, then maybe it could have been something glorious. Instead, the film feels more like an expertly crafted missed opportunity, a suspense opus filled with some solidly intriguing ideas that for some reason it refuses to investigate.