I’ve watched Branagh’s take on Cinderella (2015) a number of times now, and gosh darn if this just isn’t one of the year’s best motion pictures. Familiar story? Sure. Doesn’t do a great deal that’s not entirely expected? Of course. But that doesn’t mean the movie isn’t pretty darn close to perfect all the same.

I just wish it wasn’t so continually silly, so broadly played, so constantly intent on informing me just how full of crap all of this actually is to the point taking any single second of it seriously is a downright impossibility. The group of filmmakers behind The Editor (2014) love giallo and it shows, I just wish they made a better movie showcasing that affection, and as impressive as a lot of this might be my inability to connect to it on an emotional level is too gigantic and frustrating a hurdle for me to be able to comfortably overcome.

There is potential lurking in Gotham, I’m just not sure there is enough of it to get me excited about giving the series a second shot during Season 2. Warner’s Blu-ray presentation, however, is immaculate, fans of the show almost certain to be more than satisfied if they add this four-disc set to their personal libraries.

upernatural remains a fine show. Very well acted, filled with terrific moments and always overflowing in strong ideas, there’s definitely still a ton of imagination propelling the ongoing saga of Sam and Dean Winchester forward. But the seams in all of this have been starting to show for some time now, as is the over-familiarity, and I’d be lying if I didn’t admit one of my absolute favorite television programs of all-time might have finally started down the path of wearing out its welcome. Still, I’m keeping the faith, and as far as series Blu-ray sets are concerned this is one of the best Warner has put together for the show yet, and as such comes more or less highly recommended.

Devoid of expectation, understanding what the movie is and forgiving it for not being what I initially wanted it to be, The Age of Adaline plays exceedingly well the second time around. I found myself getting lost in its romantic charms all over again, and I have to say this is one movie I’m incredibly glad to have been given the opportunity to revisit.

I’ve watched Mad Max: Fury Road more than any other motion picture I’ve had the good fortune to see this year. As far as 2015 is concerned, this is without a doubt one of the absolute best to hit theaters, filled with so many sights, sounds, layers and ideas the overall effect it has upon the viewer is staggering. It’s remarkably close to perfect, and I have this sneaky suspicion it’s one dystopian action-fueled spectacular we’re going to be waxing poetic about for many years to come.

Backcountry is growing on me to the point I find myself feeling it’s one of 2015’s most unheralded gems. It’s mesmerizing and unsettling, both in equal measure, slowly building tension and suspense until terror is the only logical outcome for everything that has meticulously transpired. Additionally, it is anchored by a performance from Peregrym that’s easily one of the best I’ve seen all year, and while it’s doubtful she’ll garner anything even close to resembling award’s consideration that doesn’t make what she does as Jenn any less magnificent.

Season 6 of The Vampire Diaries has a lot on its mind, just not a lot that feels original, fresh or new. Same time, it has just enough energy, just enough heat, to make it through 22 episodes with decent enough aplomb, everything building towards a final episode that says goodbye to the show’s main character – Elena Gilbert – while also setting up a number of intriguing possibilities for where things could go next.

The Harvest is a nice, solidly directed thriller from esteemed – if reclusive – filmmaker John McNaughton (his first in almost 15 years), featuring superb performances by its central cast members Calis, Tahan, Shannon and especially Morton. It lulls the viewer into a false sense of security before leaping out to sever the jugular with ferocious tenacity, sending uncomforting shivers up and down the spine that last long after the film itself has come to an end.