While some of the pieces can be a little haggard, more often than not this feels entirely by design, Demolition (2016) a cinematic deconstruction of expectation and cliché, all of which results in a moving marvel of self-actualization I think I just might be in love with.

Everybody Wants Some!! is just so dark likeable, so lived-in and authentic, so lovingly acted by its cast of relative newcomers and unknowns, the fact it is entirely content following the men and only the men ends up being kind of okay. More, the movie respects its audience in a way few of these coming-of-age comedies ever do, and while not a home run for Linklater, it’s still a solid triple off the wall I’m certain to still be cheering for throughout the remainder of 2016.

Eye in the Sky is still an incredibly effective thriller that gets the blood boiling while also challenging the intellect. It does not skimp on thrills, things building to their conclusion with a swiftly building ferociousness that’s impressive.

Midnight Special isn’t as clean, isn’t as tidy as the director’s previous three features, but that doesn’t make it any less tremendous, Nichols proving once again he’s one of the more creative, imaginative and flat-out talented cinematic voices working today.

My Big Fat Greek Wedding 2 isn’t a bad sequel, it’s just a pointless one, and as such spending any additional time dissecting it further can’t help but feel like an exercise in meaningless, if still harmless, futility.

There’s not a lot new to any of this, and the surprising twists and turns that transpire during the final act are hardly shocking. But there is a level of quality to They’re Watching that’s a little unexpected, while all of the actors do a fairly terrific job of exploring their respective characters, at least in so much as much as the genre and storytelling dynamics allow them to.

Snyder’s Batman v Superman is loud, obnoxious, lacking in substance and barely lucid enough to make even the slightest modicum of sense. While not the worst superhero comic book adventure ever to grace the multiplex, it’s likely the most frustratingly disappointing, it’s failure unquestionably putting Warner and DC’s future plans in jeopardy.

While I’ve never hated any of these Divergent efforts, this latest one certainly tried my patience to an exasperating degree, Allegiant a tedious exercise in futility even fans of the series will have a hard time finding anything worthwhile to talk about once it comes to an end.

In the end, though, it is Field and Field alone who makes Hello, My Name Is Doris what it is, my affinity for the motion picture growing in leaps and bounds the more I think about her almost effortless brilliance which brings both the character, and the movie itself, to vivacious life.