Spielberg is in fine form with Bridge of Spies, his handling of the material confidently self-assured and magnetic. A stunning procedural, this is an intimate, engagingly personal thriller that held me spellbound first moment to last, building to a suitably tense climax upon the film’s titular location that’s as appropriate as it is divine.

With top-notch performances from Wasikowska, Chastain and Hiddleston, featuring stellar technical efforts from the entire production team, del Toro has crafted a magnetic spellbinder that does the genre proud. [Crimson Peak is] one of the acclaimed director’s better efforts and, more than that, it’s also one of the year’s most memorably fascinating thrillers.

But the movie never lives up to its set pieces, and the last half hour is particularly insufferable. Third act twists land with a blandly mundane thud, and the visual freneticism is too nonsensical for its own good…While fans of the books, as well as younger viewers with a taste for the macabre, might disagree, for my part Goosebumps left me cold, the only rising fear I felt while watching it the sneaky suspicion decent box office might inspire the filmmakers to someday go through the process of creating a sequel.

I’m not sure the cloak and dagger thriller Momentum (2015) would even classify as C-grade, let alone rising to B level, this routine action spectacular amazingly pointless. From a clearly slumming Freeman picking up a quick paycheck, to a set of secondary characters straight out of central casting, there’s so little new here it’s almost impressive just how inconsequential the resulting motion picture proves to be.

Steve Jobs (2015) is an exhilarating spellbinder, moving at a fervent pace as it attempts to show genius and all that comes with it – the good, the bad and the decidedly in-between – as intimately as it can. In the end the orchestra being conducted are the audience’s own emotions, Boyle and Sorkin the clever maestros making beautiful music out of them for everyone to enjoy.

The movie is a trick, of that there is no doubt, Schipper’s storytelling precision coupled with cinematographer Sturla Brandth Grøvlen’s detailed handheld camerawork beyond impressive. But if it were only this trick, only a visual device utilized to get curious cinemagoers inside the theatre, then the movie would be good, maybe a bit better than that, but not extraordinary, and that is exactly what Victoria (2015) is.

While not perfect, even with an ending that’s far too preordained and contrived than it needs to be, [99 Homes] is still an authentically realized stunner that packs a mean wallop, analyzing the financial crisis and the housing collapse in ways that feel intimately genuine. There is a purity to Nash’s journey that, as difficult and as catastrophic as it might be, is innately universal, and considering we’re in the early stages of a new Presidential contest this unquestionably is a story everyone, everywhere owes it to themselves to hear.

The Final Girls isn’t the first film to utilize a movie-within-a-movie scenario where the main characters discover themselves on the other side of the celluloid screen, but that doesn’t make it any less inventive. Working as both an irreverent, giggly eccentric homage to the ‘80s slasher movie craze as well as a solid little scare flick in its own right, it’s the somewhat surprising poignant maturity and warmth at the center of this lunacy that makes this anarchic hybrid memorable.

Incredibly well made, freakishly evocative and unsettling, this terrifying psychological drama left me so shaken when it was over I was close to aghast as to what it was I had just witnessed. While [Goodnight Mommy] is remarkable, I found I didn’t want to talk about it with anyone let alone write down my thoughts on paper, writer/directors Severin Fialaa and Veronika Franz doing such a grand job scaring my psyche all I really wanted to do was go home, climb into bed in a fetal position and hope I didn’t have nightmares.