The Final Girls is a total hoot, start to finish, beginning to end, and I admit to having watched it about four or five times since the Blu-ray arrived for review. It’s a genre-bending smash that gets better with each viewing, the film a glorious comedy-horror hodgepodge featuring stellar performances from Malin Akerman and Taissa Farmiga ranking as two of 2015’s finest.

I was able to watch Goodnight Mommy again, and, truth be told, it’s very close to a masterpiece. Still difficult. Still tough. Still emotionally devastating on an emotionally primal level. But the filmmaking is just beyond reproach, while the last half hour is mesmerizing in the extreme. Not an easy sit, but a worthwhile one, and here’s my push urging anyone with an even slight inkling of interest to make the attempt to give the film a go.

Submerged is easy to dismiss…Miller has talent, a statement I have no problem making, but it’s almost as if he’s treading water here, this whole enterprise so wet behind the ears and lacking in common sense maintaining interest through to the end is practically impossible.

The Good Dinosaur is a children’s fable that is more than content to be exactly what it is and little more. None of which means adults won’t find plenty to cherish, they just won’t latch onto it as strongly as younger viewers undoubtedly will, and for my part I have no problem with that whatsoever.

High on the list of words I never thought I would write in 2015? How about something along the lines of proclaiming a sequel/spinoff to 1976 Academy Award-winner Rocky, a movie that’s already had five proper sequels, one of the year’s best motion pictures?

I don’t have a whole lot new to add. No Escape is incredibly well made, and is suitably thrilling for much of its running time. Yet it is also really difficult to watch at times, and I can’t help but feel a little xenophobic on some levels – which is maybe the point – for enjoying it as much as I did. Make of that what you will.

Who cares about Humphrey Bogart’s exceedingly odd casting as a French war hero? I certainly don’t, Passage to Marseille a wonderful old school patriotic WWII actioner with a unique overlapping flashback structure that’s beyond one-of-a-kind.

#Horror isn’t a fun watch, and what it says is hardly profound. But that doesn’t make the film any less easy to turn away from, either, and as debuts go Subkoff has crafted one I’m going to be thinking on for quite some time, indeed.

A Ballerina’s Tale might not be a great documentary, never achieving the same level of perfection as its subject so often does dancing across the staged, but that doesn’t make it any less enjoyable. Still, I can’t stop wondering what might have been had George dug just a tiny bit deeper, Copeland’s amazing story deserving of a fuller, more complex telling, one I can’t help but hope happens sooner rather than later.