Bloodsucking Bastards is basically the odd, overlong, fitfully funny love child of Office Space and Fright Night. The story of a corporate office taken over by vampires looking to streamline the workforce and maximize profits while also stockpiling a cubicle full of human-sized foodstuffs, director Brian James O’Connell’s silly little undead B-grade supernatural frolic is happily a great deal of fun.

More than that, though, I just got a kick out of the gruesomely playful tone Shyamalan establishes, things playing like a whimsically knowing twist on the adventures of Hansel and Gretel only with a modern day surveillance age digital bent.

Kerb and Holderman’s screenplay rarely digs all that deep, maintaining an air of erudite profundity that’s more for show than it is anything else. While Bryson and Katz do evolve, while lessons are learned, I can’t say their changes are surprising. More, they’re not passionately presented, their emotional revelations more ho-hum and insignificant than they are anything else.

Acclaimed indie director Alex Ross Perry’s (Listen Up Philip, The Color Wheel) latest Queen of Earth is the idiosyncratic auteur’s best film yet. It’s also one of the better motion pictures I’ve had the good fortune to see so far this year.

For Apple junkies, this is likely to come across as a hit piece. Gibney chooses to take off the rose-colored glasses, show the flaws and the brilliance, attempting to find the wizard behind the curtain, giving a broader insight into a human being so many have tended to look at in awe and with reverence but seldom with understanding.

It’s as if they all collectively shared a bottle of sleeping pills before each scene began filming, the narcoleptic atmosphere so omnipresent I’m a little surprised I didn’t take a nap myself at some point during the proceedings. No, The Transporter Refueled is nothing other than a bad movie, that’s it, and to say anything more is simply a waste of time.

I’ve watched Mad Max: Fury Road more than any other motion picture I’ve had the good fortune to see this year. As far as 2015 is concerned, this is without a doubt one of the absolute best to hit theaters, filled with so many sights, sounds, layers and ideas the overall effect it has upon the viewer is staggering. It’s remarkably close to perfect, and I have this sneaky suspicion it’s one dystopian action-fueled spectacular we’re going to be waxing poetic about for many years to come.

Backcountry is growing on me to the point I find myself feeling it’s one of 2015’s most unheralded gems. It’s mesmerizing and unsettling, both in equal measure, slowly building tension and suspense until terror is the only logical outcome for everything that has meticulously transpired. Additionally, it is anchored by a performance from Peregrym that’s easily one of the best I’ve seen all year, and while it’s doubtful she’ll garner anything even close to resembling award’s consideration that doesn’t make what she does as Jenn any less magnificent.

Season 6 of The Vampire Diaries has a lot on its mind, just not a lot that feels original, fresh or new. Same time, it has just enough energy, just enough heat, to make it through 22 episodes with decent enough aplomb, everything building towards a final episode that says goodbye to the show’s main character – Elena Gilbert – while also setting up a number of intriguing possibilities for where things could go next.