I’m not going to spoil the twists Trance offers up for consideration. But if I did, if I wanted to, I doubt it would matter much, Boyle and company delivering a fervently exhausting techno-powered modern day thriller of memory and regret that makes up in energy and excitement what it lacks in nuance and overall surprise.

Carruth’s Upstream Color refuses to be diluted down into digestible platitudes. In some circles it could probably be construed as nonsensical prattle. In others, it will more than likely be considered a masterpiece.

Berger keeps the pace moving briskly, while his staging of the final act speaks with a heartbreaking surreal elegance that left me speechless, all of which makes Blancanieves a timeless one-of-a-kind spectacle the both brothers Grimm would have been proud to have called their own.

Gimme the Loot [is] a heartbreakingly sunny reminder that hope can be found where you least expect it and that friendships forged under adversity, whether perceived or actual, can oftentimes without our knowing become the longest lasting of them all.

A viewer can’t help but laugh, and right after the first snicker any chance there might have been to take things seriously disappears into the ether

Derek Cianfrance’s The Place Beyond the Pines, his follow up to his Oscar-nominated Blue Valentine, is big, sprawling and highly ambitious. It is his attempt at an American opus that’s equal parts Tennessee Williams and Sidney Lumet, a movie where the sins of the father are passed unto their sons, so on and so forth, making the picture a multigenerational epic filled with interesting characters, heartbreaking situations and broadly emotional ideas.

The Shining is a classic that any cinephile worth their salt loves to play around with and interpret, and it likely goes without saying that many are going to keep doing just that forever…and ever…and ever…and ever…

The truth of the matter is, while G.I. Joe: Retaliation is without a doubt a far superior effort to its predecessor, while it does contain more than its fair share of fun moments and has more than a few performances worthy of a gentle tip of the hat, I don’t have the slightest wish to watch it again at any point in the foreseeable future. Make of that what you will.

The propulsive nature of the visuals is a sensory revolution, while the climactic fade to black is eccentrically nifty, putting the themes littered throughout Welcome to the Punch into a provocative perspective I wasn’t anticipating.