What is most amazing about Peter Jackson’s The Hobbit: The Battle of the Five Armies, the director’s final flirtation with the writings of celebrated author J.R.R. Tolkien, is just how inconsequential all of this nonsense feels.

Comet isn’t without its faults, the ingeniously and imaginatively crafted delights far outweigh any overall apprehensions about the finished picture I otherwise might have had.

Exodus: Gods and Kings doesn’t have heart, has trouble establishing an emotional connection with the viewer. On top of that, it doesn’t care to tackle the central questions in regards to faith and religion in ways that could be considered profound or complex.

Force Majeure is a marvelous dissection of responsibility, communication and love, everything building to a stupendously ephemeral conclusion.

I’m not going to mince words, flaws and all, even with segments that offend, Top Five is incredible, and in many ways is the best comedy released by a major studio in 2014.

Wild remains entrancing, always offering up moments of subtle, delicately simple intimacy that struck me right in the heart.

Unsettling, thought-provoking, filled with startling visuals coming from a place of pure, uncompromising emotional truth, The Babadook is an oftentimes devastating look at loss, death and regret coupled with the responsibilities of parenthood that hits extremely close to the bone. It doesn’t let up, keeping Amelia’s wavering psychological state at the center of things throughout, delivering up a powerfully honest conclusion to this small family’s travails and woes that is instantly unforgettable.

Terry is a fascinating figure, oozing intelligence and charm even as he heads into his 90s, while Kauflin’s got charisma to burn, his talents as a musician apparent right from the start. As for Hicks, he’s managed to assemble as solid a debut as anything he could have hoped for, Keep and Keepin’ On a rousing documentary undertaking whose rhythmic underpinnings are so self-assured they’re positively euphonious.

However, as good as the production values might be, as strong as the overall cast is, the same cannot be said for The Pyramid (2014) as a whole. Levasseur shows potential as a director, just not enough of it to overcome his debut’s deficiencies, making this one horrific descent into the subterranean unknown unworthy of discovery.