The Fault in Our Stars is an eye-opener. Boone does a masterful job most of the way through, everything anchored by a performance from Woodley that’s as terrific as any I’m likely to see delivered in all of 2014.
For No Good Reason is still awfully entertaining. The archival footage is fairly incredible, while the fashion in which Stedman works is in as one of a kind.
Rigor Mortis is both a clever homage to Hong Kong’s luminous horror history while also a disturbingly invigorating example that its future is in good hands, Mak’s directorial debut an impressive one indeed.
It’s when Delivery: The Beast Within moves into more conventional territory that it sadly loses a little bit of its charm.
A Million Ways to Die in the West is a misbegotten, unfocused attempt at Western comedy that never gels like it potentially could have.
As beautiful as Maleficent is to look at, it is unfortunately an emotionally flat effort that feels cribbed together from a variety of superior sources.
Zack Parker’s Proxy movie is very good at pulling the rug right out from underneath you. Proxy isn’t what you think it is going to be, playing a game of bait and switch right at the halfway point that’s jarring and incredible.
Blended is a mess, and as enjoyable as it may be in parts on the whole it’s still an exasperating misfire wasting its inherent plusses and attributes to an almost unforgivable degree.
X-Men: Days of Future Past manages to take such a convoluted scenario and present it in ways that are easy to process and even more fun to digest. It treats its audience with intelligence and respect but doesn’t skimp on action pyrotechnics.