[While] I’m not ready to sing a happy song or smurf it all day long, I might just have a few la la la-la la la’s running through my head at the moment and, shockingly, I’m perfectly okay with that.

I really like Rogue One. I find more to revel in and wonder at with each viewing. It’s much deeper and more profound than anticipated, this full-on war epic showcasing the possibility these promised “stories” set in the Star Wars universe offer if handled correctly.

By the time it comes to an end, Frantz has made a permanent imprint, the hope for a better tomorrow after a cataclysmic yesterday striking chords of promise that make even the harshest of injuries feel as if they someday can be healed.

The Boss Baby is hardly terrible. It has moments of wit and ingenuity that are undeniably impressive, and with Baldwin reveling in playing a character so obviously in his wheelhouse I can’t say the picture is entirely devoid of laughs. That being so, I still did not enjoy watching this motion picture and, more to the point, I can’t imagine many others doing enthusiastic backflips over it. It just isn’t all that good, and honestly I don’t have anything additional I feel like adding.

But there are so many boneheaded creative mistakes watching them smack one into the other with such ghastly consistency frankly boggles the mind. Ghost in the Shell is a stupefying failure that’s close to unforgivable, its apparent inability to understand what it gets wrong and why a perplexing mystery even Major herself wouldn’t be able to solve.

Imaginatively Gory House a Horror Haunt Not Worth Visiting A team of kidnappers, led by the aggressively determined Hazel (Sharni Vinson), plan and execute the abduction of heiress Katherine (Carlyn Burchell), setting themselves up for a major payday. But calls to the young woman’s father go continually unanswered, and as such Ade (Steven John Ward) […]

The Zookeeper’s Wife is excellent, the Zabinski’s story an important lesson in heroism that proves to be as entertainingly compelling as it is fascinatingly essential.

“I think it’s the voice. The voices. It’s why we started. These voices that you never hear from normally in movies. They’re unacceptable to conventional mainstream society and yet they’re crucial to us understanding the margins.”

This screenplay is shockingly dumb, there’s just no other way to put it, Life more akin to a low budget ‘80s Roger Corman schlock sci-fi knockoff than it comes close to resembling a Ridley Scott or John Carpenter genre classic.