What is learned, who is who and what is what, all of it matters, not just so much in regards to the greater picture as far as the new trilogy is concerned but also as it pertains to the narrative here. The filmmakers maintain remarkable focus, a singularity of purpose, doing yeoman’s work fleshing out Rey and Finn while also giving Solo an astonishing arc no fan of the series will ever be able to forget.

To their credit, the filmmakers match the tone of Collins’ book more or less all the way through (save for a subtle – yet important – change during the closing seconds), attempting to craft a war-torn parable that has more in common with Platoon or Apocalypse Now than it does to Star Wars or The Lord of the Rings trilogy.

As terrific as it all looks, as expertly crafted as it might be, Spectre just isn’t all that good a movie…It is a tired retread that offers little new or original, taking 007 to the one place he’s arguably never been before: irrelevance.

Ant-Man proves to be one of the more enjoyable entries in Marvel’s so-called Cinematic Universe (MCU). Unlike Avengers: Age of Ultron, the script by Rudd, Wright, Adam McKay (The Other Guys) and Joe Cornish (Attack the Block) is beautifully self-contained, rarely utilized to set up coming events that are going to transpire inside Thor: Ragnarok or Avengers: Infinity War – Part I. It runs less than two hours, tells its own origin story and, while acknowledging the bigger comic book world it is a part of, isn’t beholden to it.

But in the pursuit of setting up a new world, as well as planting the seeds for future sequels, the filmmakers fail to construct a self-contained story worthy of an audience’s attentions let alone their emotional investment. It’s a robotic descent into Hollywood financed, corporate-driven stupidity, diluting a once powerful franchise to a place it had yet to travel to until now: irrelevance.

Avengers: Age of Ultron isn’t anything more than what it initially appears to be, and for most viewers I imagine that’s going to be, not just fine, but positively super.

Furious 7 in almost all the ways that matter is every bit as entertaining as the three features that have preceded it.

Wyrmwood doesn’t reinvent the wheel. It doesn’t shake up the zombie genre so much that it will never be the same afterwards. Yet it’s filled to the brim with indelible moments that joyfully take up space in the memory, showcases sequences of ingenuity and wit that had me rocking back and forth in my seat in total, unrestrained euphoria.

For the most part Kingsman: The Secret Service is made with gleeful anarchic relish, and at no point during its 129-minute running time did I feel bored or offended. Featuring crackerjack action sequences, laugh-out-loud moments of humor and emotional beats that caught me off-guard, in a lot of ways Vaughn’s latest is right up there with his best work as a director, the end product showcasing a confident maturity that’s sometimes been absent from a few of his previous endeavors.