I really enjoy The Good Dinosaur, and while the film is far from Pixar’s best it has a pleasing, universal quality that’s virtually impossible to deny.

Race means well, and it certainly wants to tell Owens’ story as completely as it can. Yet Hopkins and company never quite get there, the whole enterprise coming up a little short of the finish line as it lumbers its way down the track.

Still, the delicacy of Reynolds’ approach is impressive. I liked that he doesn’t stuff dogma down the viewer’s throat, that he allows each step of Clavius’ journey to speak for itself…If Risen (2016) isn’t transcendent, if it doesn’t, well, rise to the occasion, it’s arguably not for the lack of trying.

A superlative achievement that transcends genre conventions to become something unique and timeless, The Witch is destined to be a movie I’m going to be pondering, dissecting and extolling the virtues of for the remainder of 2016.

I think The Secret in Their Eyes holds up much better than most critics are likely going to say it does. Billy Ray’s remake stands on its own. It also features one of Julia Roberts best performance, the actress going to unnervingly deep emotional places in order to bring her character to life.

Unless you’re a diehard Disney fanatic/collector who just must have every single item released by the studio, there isn’t a great reason to double-dip on Snow White and the Seven Dwarfs.

Handing things over to upcoming filmmaker Travis Z (Scavengers), the idea apparently was to treat the material in roughly the same way Gus Van Sant tackled Alfred Hitchcock’s 1960 classic Psycho back in 1998. In other words, it’s the exact same movie, virtually scene-for-scene and line-for-line, making the remake nothing short of pointless.

Dakota Johnson is a star. Leslie Mann is as talented an actress as there is working today deserving of a movie to call her own. Rebel Wilson, when used correctly, can produce belly laughs better than just about anyone. Those are the three things I took away from watching the amenable, generally amusing if moderately forgettable comedy How to Be Single, the movie never quite coming into its own yet hardly what I’d call a waste of time.

There is an unvarnished innocence to Nina Forever that I was decidedly captivated by. The Blaine brothers mine universal territory here, embracing emotions familiar to just about everyone, doing so in the context of a love triangle where one party to the affair is a talkative corpse.