“It’s just one of those crazy ideas that you have,” Richard Linklater says with a smile. “I was trying to make a film about childhood, but I couldn’t find a spot to begin.”

Boyhood is remarkable stuff, filled with drama, intrigue, suspense, laughter, tears and all the rest that comes with that.

“What I really hope is that, afterwards, when it’s over, people will look deeper into the eyes of their loved ones, they’ll look closer than ever before, memorizing every little detail. That’s what I hope they do.”
– Mike Cahill

I Origins is a beautiful treatise on self, human understanding, religion, science and most of all faith. It moves, shifts and evolves in naturalistic fastidiousness, everything building to a magnificent conclusion.

Witching & Bitching is a comedic, gore-drenched, blatantly misogynistic free-for-all that manages to emasculate its male characters at the exact same time it marks them as superior to their female antagonists.

Willow Creek isn’t new, it doesn’t break the mold, but the honest truth is that it doesn’t have to. Goldthwait has made a seriously great scary movie.

Make no mistake, Obvious Child is a stunning debut. More than that, it’s also a terrific piece of cinema I’ll be thinking about and extolling the virtues of for a heck of a long time to come.

The Fault in Our Stars is an eye-opener. Boone does a masterful job most of the way through, everything anchored by a performance from Woodley that’s as terrific as any I’m likely to see delivered in all of 2014.

Rigor Mortis is both a clever homage to Hong Kong’s luminous horror history while also a disturbingly invigorating example that its future is in good hands, Mak’s directorial debut an impressive one indeed.