The didactic preachiness is too toothless to become truly tiresome, and in some ways that might just be the most disappointing and frustrating facet of The Hunt of them all, making this satirical safari unworthy of any more of my attention.

The drama, comedy, satire and commentary don’t merge into anything meaningful, Greed a stiflingly discombobulated letdown that can’t pay its entertainment bills without going into the red.

Mirabella-Davis manages to bring all of the various themes he’s been exploring throughout Swallow to shockingly haunting culmination, all of which makes his insightful drama nothing less than unforgettable.

The Traitor is a sprawling exposé that covers decades of criminal escapades, all of it seen through the eyes of a man who refuses to consider himself an informer.

While some of the core fundamentals are strong, and even though Affleck dominates the dramatic paint as if he were Bill Walton grabbing another rebound, The Way Back emotionally double-dribbles far too often before ultimately clanking the last shot off the front of the iron just as time expires.

It’s all a bunch of colorfully anarchic, emotionally uplifting heartfelt supernatural silliness, all of which helps make Pixar’s latest comedic adventure Onward a goofy good time I’d be excited to see again.

The Invisible Man is next-level stuff that signifies his arrival as a talented storyteller who has an innate ability to take seemingly tired concepts and ideas and make them feel original and contemporary.

Brahms: The Boy II is a lazy sequel.

The Call of the Wild proved to be an outdoor adventure worth going on, and I can’t help but think my 10-year-old self would have seen this in the theatre a good half-dozen times if my parents would have permitted me to do so.