Ender’s Game looks incredible, and the cast does their collective best, but the bad taste left in my mouth after it came to an end was unavoidably loathsome.

Man of Tai Chi is an action extravaganza some will undoubtedly love; the rest of us will just offer our begrudged respect while knowing full well we’re unlikely to ever lay our eyes upon it ever again.

It’s hard to imagine a movie will look into this heart of American darkness with more meticulous an eye anytime soon, McQueen latching onto Northup’s story refusing to allow it to lapse into melodrama or treacle. His filmmaking acumen is beyond reproach, the technical aspects never overshadowing the human story every piece augmenting the next allowing the story to bloom and blossom as it likely wouldn’t have otherwise.

The Counselor (2013) doesn’t go down easy, and it certainly isn’t uplifting, but that doesn’t make it any less great, the film a pointed reminder that greed isn’t pretty and the even the smallest of missteps can have the bloodiest of consequences.

All is Lost is a triumph, no more, and certainly no less, and my gut feeling is that viewers who take up the challenge to see it in a theatre will likely feel the same.

You get what you pay for as it pertains to Big Ass Spider!, and to my mind this is a very good thing indeed. If you’re headed to the box office chances are you have preconceived ideas of what it is you want, the title of the film not exactly shrouding things in any sort of mystery. It is, after all, claiming to be a movie about a big ass spider, meaning that if it doesn’t have one you are likely to come away angrily disappointed.

So much of Carrie is rudimentary to the point it’s almost tedious, all of which makes caring about much of what transpires exceedingly difficult.

For all its many faults Escape Plan still manages to be an entertaining action throwback, and pardon me if I ended up enjoying the heck out of it.

All the Boys Love Mandy Lane is a great showcase for a filmmaker at the start of his career, Levine juggling the labyrinthine tangents of Forman’s screenplay with a lethally intoxicating precision that’s impressive.