But some of these filmmakers, like Mendez, like Schifrin, like Parker, do a wonderful job, crafting short, sweet and merrily ghoulish holiday-themed yarns deserving of praise. As anthologies go, [Tales of Halloween] is a heck of a lot of fun, even the misses having a spunky, go-for-broke attitude worthy of going a tiny bit crazy for.

All of which makes Burnt an intriguing misfire that’s impossible to dislike yet difficult to fully embrace. I appreciate what Knight and Wells are attempting, like how they desire to tell a story from the middle in, not wasting a lot of time recounting events we don’t need to know a lot about…It’s all too familiar, too rudimentary, and while the kitchen they’re working in is top-of-the-line the meal they ultimately prepare isn’t that much better than a Denny’s breakfast left under the heat lamps a few minutes too many.

The movie’s satirical jabs at the political process are familiar across the board, and not a single thing anyone says or does is near as shocking as it needs to be in order for the film to resonate on a meaningful level. It’s pretty standard stuff, most of the narrative elements content to roam along the surface, the script rarely, if ever, digging deeply enough to matter as far as the bigger overarching picture is concerned.

Journalism isn’t above its own sort of reproach when stories are not vetted as they should be, and even if the core is correct and the conclusions are factual few are going to care if they can pick apart the puzzle pieces that supposedly lead there. Truth (2015), as much as I agree with many of its contentions, fails to hold itself to the same level of scrutiny as it does those going after Mapes and Rather, and as such never feels as authentic as it should have.

Narcopolis never rises above mediocre as far as story is concerned, building to a supposedly slam-bang stunner of a finish that’s nowhere near as inspired as I think the director intends it to be. While Cowan is a solid Dana Andrews meet Harrison Ford clone, his performance alone isn’t enough to make up for the structural silliness of the plot itself, and while Trefgarne shows promise behind the camera his skills as a screenwriter sadly still leave something to be desired.

The line between historical fidelity and narrative creativity isn’t always a comfortable one, and there are times I did wish the filmmakers had taken a more documentary-like approach, especially as it pertained to the more violent and disturbing clashes with the police. Yet, overall, Gavron’s approach is spot-on, and the way she allows Maud to tell her own story at her own pace only augments the emotional purity of all she endures and overcomes, giving Suffragette a universality that’s sublime.

My heart more often than not just wasn’t in it, the fact the priceless bits are sensational only making the stuff that doesn’t work that much more catastrophic. Funny thing, even with that being so, I still kind of want to like Jem and the Holograms in spite of all its missteps and shortcomings, and if that isn’t truly outrageous in and of itself I’m not sure what else would be.

[Director Breck] Eisner is talented, and I’m going to assume he’s got another The Crazies – hopefully more than one – in him at some point, but The Last Witch Hunter isn’t it. This is a bad movie. More, it’s a waste of time, and I feel more than a little terrible for those who spend hard-earned money on a ticket to watch it.

I still think the first three in this series are remarkably effective, and even if this sixth effort fails to maintain tension there are sequences that got under my skin marvelously…While not a total loss, it’s still clear Paranormal Activity: The Ghost Dimension is indicative of a franchise running on fumes, the scares just not strong enough to warrant another jaunt into this particular version of the unknown anytime soon.