As an attempt to move into more personal territory, as a vehicle for him to stretch, to leave the spectacle behind, I give him props. But as a movie worth watching? As a story I want people to see? Stonewall is a disaster, start to finish, and the only riots that should be associated with it are those of angry ticketholders who wasted good, hard-earned money to view it.

Wildlike is the kind of simple, delicate, nondescript little independent film that sneaks up out of nowhere and melodiously breaks your heart clean in two. It’s a flower of a film growing to unimaginable heights in the cruelest of conditions, never wearing its emotions out in the open yet showcasing them just enough so they have a searing power that earn their tears with subtle, barely perceptible precision.

As procedurals go, Black Mass is no Zodiac or All the President’s Men, failing to find the emotional decrepitude lingering at the heart of the tale. As depictions of organized crime, as a saga of one man’s ascent to becoming a ferocious mob boss, once again the movie is no The Godfather, no A Most Violent Year, the scope too condensed, too rushed, to ever resonate as deeply and as passionately as necessary for the story to have any sort of meaning.

considering the subject matter, it’s almost impossible not to walk out of Everest (2015) without being moderately impressed. Director Baltasar Kormákur (2 Guns, 101 Reykjavík) stages the majority of the key climbing sequences with dazzling eloquence, things achieving a devastatingly haunting quality at times that’s notable. But without a core connection to the characters involved in the chaos and heartbreak I find it difficult to embrace the film as fully as I’d honestly like to, and while the spectacle is impressive the dramatics at the heart of it all are sadly anything but.

The anchor is Tomlin. Delivering a performance that by all rights should garner an Academy Award nomination, the veteran actress encapsulates an entire career, maybe even an entire life, lived under the public microscope brilliantly. There are layers to Elle that are revealed bit-by-bit, Tomlin refusing to overplay her hand even when her character revels in her outspoken, larger-than-life personality.

But as a movie, as a centralized story where characters grow, evolve and learn things about themselves they potentially did not know, Ball’s second descent into author Dashner’s ravaged world is a good one, and considering my ambivalent reticence to the first The Maze Runner that isn’t a statement I make at all lightly.

Culminating with the 1972 chess championship, focusing particularly on the game six match many aficionados consider the best ever played, [Pawn Sacrifice] is a not-so-subtle reminder about how genius and madness oftentimes go hand-in-hand, and as such is an absorbing drama of psychological deterioration impossible to dismiss.

Brie and Sudeikis shine, and as for laughs they are undeniably plentiful. Sleeping with Other People might be too familiar for its own good, but that doesn’t mean it isn’t entertaining, and as romantic comedies go it’s one of the more enjoyable ones I’ve seen this year.

Bloodsucking Bastards is basically the odd, overlong, fitfully funny love child of Office Space and Fright Night. The story of a corporate office taken over by vampires looking to streamline the workforce and maximize profits while also stockpiling a cubicle full of human-sized foodstuffs, director Brian James O’Connell’s silly little undead B-grade supernatural frolic is happily a great deal of fun.