Unlike the first film, [London Has Fallen] never takes itself seriously. At the same time, it amplifies the violence and the jingoism to stratospheric levels…It’s just plain nuts, walking a surreal line between being irredeemably offensive and goofily enjoyable with astonishing aplomb.

I really liked The Wave (2015), liked it a lot. While it doesn’t do anything new, Uthaug’s latest genre excursion just does what it sets out to do so gosh darn well, the lack of originality or innovation isn’t the type of problem it would have been had lesser hands been guiding the production.

If Zootopia isn’t the same sort of sensation that Tangled or Frozen were, that doesn’t make it any less wonderful. Reminiscent of Wreck-It Ralph, the film is another winner for Disney proper (i.e. non-Pixar related) and shows the studio is still a force to be reckoned with where it comes to their animated offerings.

Not so much the true story of the ski jumper’s path to the Olympics as one that enjoys playing in a fertile genre playground reminiscent of Rocky, The Rookie, Hoosiers and, of course, Cool Runnings, [Eddie the Eagle] is an enjoyable lark, and much like the man at the center of it all ends up being virtually impossible to dislike.

[Gods of Egypt] is beyond stupid. At the same time, I got the feeling that Proyas realizes this, and, instead of trying to mask the inherent absurdity of what is transpiring, he pushes it front and center, reveling in the unabashed lunacy as if he were making a Loony Tunes cartoon and not a budget-busting Hollywood spectacular.

Hillcoat remains a director on the rise, and there’s nothing about Triple 9 that makes me question that assessment. But the movie never realizes its inherent potential, riffing too much inside the world of genre classics that came before it rarely charting a course that could even slightly be considered original.

Race means well, and it certainly wants to tell Owens’ story as completely as it can. Yet Hopkins and company never quite get there, the whole enterprise coming up a little short of the finish line as it lumbers its way down the track.

Still, the delicacy of Reynolds’ approach is impressive. I liked that he doesn’t stuff dogma down the viewer’s throat, that he allows each step of Clavius’ journey to speak for itself…If Risen (2016) isn’t transcendent, if it doesn’t, well, rise to the occasion, it’s arguably not for the lack of trying.

A superlative achievement that transcends genre conventions to become something unique and timeless, The Witch is destined to be a movie I’m going to be pondering, dissecting and extolling the virtues of for the remainder of 2016.