The Maze Runner is well made, and I certainly found myself intrigued and fascinated by much of what it had to offer; the fact it ended up being nothing more than a prequel to a sequel is a dumbfounding disappointment.

With the entire cast hitting on all cylinders, This Is Where I Leave You ends up being something of a minor success, and while I’m sure all involved hoped for more, considering how bad this could have been, being “pretty good” is nothing to scoff at.

At the Devil’s Door is a moderately fascinating freak-out bristling with suspense and oozing with dread. It got under my skin, everything building to a suitably unsettling denouement.

The supernatural undertones don’t sit well with the real world elements. [Ultimately] Beneath just doesn’t work, and as good as the opening half might be the second just doesn’t make the grade.

Dolphin Tale 2 is a sweetly endearing sequel, plain and simple, earning both my tears and my smiles even if it doesn’t bust convention while doing so.

Love is Strange lives up to its title, the story of togetherness and romance it tells universal in scope and significance.

Innocence is a silly, straight-forward and rudimentary tale of secrecy and witchcraft, and I can’t say the film itself produced a single, solitary surprise in any one of its overly familiar 96 minutes.

As Above So Below isn’t a great thriller. Its final portion, while exciting, doesn’t linger for a second to try and explain itself and essentially becomes an escalating series of images chronicling escapes, close calls and sudden deaths that happen just because.

Throw in a series of ever-escalating romances, double-crosses, hidden agendas and mistaken identities, and it’s clear that director Roger Donaldson’s The November Man has a heck of a lot on its twisted little mind.