There’s no cohesion, no rationale why one event that transpires leads to the one directly following it. It’s a big, monstrous waste of time, energy, resources and talent, The Dark Tower a forgettable misfire that does injustice to King’s source material and sadly belongs in the bargain bin collecting dust.

Bigelow brings Detroit home, showing how this historical scar on the American Dream deserves to be far more than an abhorrent footnote. Make no mistake, there might not be a more important motion picture released this year.

But when An Inconvenient Sequel works it does so magnificently, especially when it calls back to the more controversial aspects of its predecessor and shows in no uncertain terms just how quickly some of those dire predictions are coming to pass.

As a B-grade exploitation thriller made in the style of ‘80s grindhouse mainstays, Kidnap gets the job done. Prieto doesn’t hide that his movie is basically the second part of an old school drive-in theatre double-bill, and as such he doesn’t shirk on the elements that would hopefully get viewers to stay awake well after midnight if they were giving it a look.

“They’re not trained journalists. They wouldn’t necessarily even call themselves journalists. You know, they’re media activists, or citizen journalists. But they’re filling a void where ISIS has completely blacked out all information coming in and out of that city. If it wasn’t for them, we’d have no idea what’s happening there.”
– Matthew Heineman

But it is a ten minute, seemingly one-take chase-fight-shoot-escape-fight again set piece beginning inside a high-rise stairwell and culminating in a speeding car that is the true show-stopper, and without a doubt it is one of the best sequences of its type I’ve frankly ever seen.

By putting the two main characters first, by making sure they are well-rounded, complex and believable, Power allows Killing Ground to resonate in ways that are uncompromising in their primitive concentrated destructiveness.

Lady Macbeth strikes hard and digs deep, Pugh’s performance alone a superlative bit of ruthless magnificence that lives up to the title character’s Shakespearean namesake with unforgettable viciousness.

The Midwife ends up delivering on all fronts, making it a drama all involved should feel vast amounts of pride assisting in the birth of.