Krampus is a naughty little movie, and I mean that in a good way, and once again Dougherty proves himself to be crafty genre-bending filmmaker willing to make old school high-concept thrillers the likes of which studios are now reticent to put into production. As Christmas miracles for horror fans go, this is one stocking stuffer certain to be enjoyed for many years to come.

[Asthma] is a ponderous, emotionally indulgent addiction melodrama that wanders around aimlessly, desperately trying to find a reason to matter. It uses quirk and whimsy to mask just how one-dimensional and unappealing the main character is, never following through on any of its bigger ideas.

Submerged is easy to dismiss…Miller has talent, a statement I have no problem making, but it’s almost as if he’s treading water here, this whole enterprise so wet behind the ears and lacking in common sense maintaining interest through to the end is practically impossible.

The Good Dinosaur is a children’s fable that is more than content to be exactly what it is and little more. None of which means adults won’t find plenty to cherish, they just won’t latch onto it as strongly as younger viewers undoubtedly will, and for my part I have no problem with that whatsoever.

High on the list of words I never thought I would write in 2015? How about something along the lines of proclaiming a sequel/spinoff to 1976 Academy Award-winner Rocky, a movie that’s already had five proper sequels, one of the year’s best motion pictures?

#Horror isn’t a fun watch, and what it says is hardly profound. But that doesn’t make the film any less easy to turn away from, either, and as debuts go Subkoff has crafted one I’m going to be thinking on for quite some time, indeed.

A Ballerina’s Tale might not be a great documentary, never achieving the same level of perfection as its subject so often does dancing across the staged, but that doesn’t make it any less enjoyable. Still, I can’t stop wondering what might have been had George dug just a tiny bit deeper, Copeland’s amazing story deserving of a fuller, more complex telling, one I can’t help but hope happens sooner rather than later.

Delivering what could be misconstrued as nothing more than a fluffy romantic comedy with dramatic undertones, sneakily and subtly [Brooklyn] is actually about so much more. This is the saga of a youngster becoming her own, confident women ready to take on the world at large, learning who she is now and who she was then aren’t as far apart as those wanting to keep Eilis standing still would like her to believe.

Only time will reveal how I really feel about By the Sea, whether or not it becomes something meaningful and thought-provoking or if it just remains a facetious facsimile emulating a style of European cinema it reveres yet fails to understand. Either way, I’m tempted to still give Jolie Pitt props, and I have this sneaky suspicion I’ll be giving the film a second chance to win me over sooner rather than later.