They keep things intimate, personal and close to the vest, events revolving around Logan’s battles with his inner demons above all else. The Wolverine isn’t interested in the big or the audacious, instead choosing to turn inward whenever it can, in essence making it one of the more anachronistic Marvel superhero epics to grace the multiplex up to now.

Made with style, imagination, confidence and panache, [The Conjuring (2013)] gets under the skin right away and then stays there for the remainder of its innervating 112 minutes, building to a solidly sinister and unsettling finale that had the audience I watched it with on collectively disquieted pins and needles.

Directed with whimsically audacious precision by Jon Wright (Tormented), featuring a crackerjack, and surprisingly intelligent, script by newcomer Kevin Lehane, the movie is a stupendously entertaining hoot start to finish, and by the time it was over all I wanted to do was start the darn thing over from the beginning and watch it again.

I have a feeling I will revisit Only God Forgives at some point in the future. Maybe when I do my opinion towards it will soften. But for right now, as of this moment, I just can’t grasp what exactly it was Refn felt he was trying to do, his theological musings a twisted muddle of platitude and cliché overflowing in bluster but with little of weight or meaning to back it all up.

R.I.P.D. isn’t a movie to hate, isn’t a movie to love and, most of all, isn’t a movie to get very excited about one way or the other.

While nothing close to a great sequel, RED 2 is still pretty darn entertaining, and if the cast and crew felt the need to return for one more adventure in order to complete the trilogy that would be just fine with me.

Turbo works, surprisingly so, its contest of brotherly love and understanding a warm-hearted race where those watching the spectacle end up being the biggest winners of them all.

Less than 12 months later, producers/writers/directors Simon Barrett and Adam Wingard have managed to cajole another group of talented filmmakers to take their crack at the concept, and results are, to be perfectly frank, close to astonishing. V/H/S 2 doesn’t just improve upon the first film, doesn’t just take note of its missteps and mistakes, it quickly enters the pantheon as one of the great horror anthologies ever made.

The Way, Way Back proves a familiar story in the hands of great filmmakers confident in their abilities (as well as in the talented team they’ve assembled to assist them) can still be worthwhile. This movie is wonderful, nothing more, and certainly nothing less, the truths it revels in may not be new or revelatory but that doesn’t make them any less compelling or, for that matter, universal.