Honey Boy is a complex nonlinear trek into the highs, lows and uncomforting in-betweens of a life lived on the fringes of the Los Angeles spotlight, this father-son story at a vicious exposé of lost dreams, heightened expectations, overpowering addiction and unselfish love that caught me by surprise.

Hitting the screen like a shot of pure unfiltered adrenaline, director James Mangold’s Ford v Ferrari is an outstanding historical character study overflowing in energy, excitement, drama, heartache, euphoria and unbridled suspense.

Because Condon and Hatcher don’t drop any hints or noticeable clues as to what is going on this character-driven mystery comes perilously close to transforming into a ‘70s-style exploitation thriller for the AARP set, which might have been fine had I felt The Good Liar earned such a pivotal change in tone.

Burns has delivered a pulse-pounding procedural I could not resist, and I can’t help but think that audiences of all political persuasions will end up feeling the same just as long as they can put their differences aside in order to give The Report a look.

Last Christmas has the potential to make a lasting imprint with a lot of viewers, and even if my heart wasn’t always into it that doesn’t mean I’m ready to dismiss the film entirely.

Maybe Midway will play better at home, but as far as theatrical experiences covering a pivotal moment in WWII history are concerned Emmerich’s drama fails to hit the target, and I find this disappointing to say the least.

Pain and Glory is one of Almodóvar’s most personal storytelling endeavors. It is also one of his best.

Harriet is more than a dramatic history lesson. It is a piece of filmmaking excellence I am almost certain to revisit, and a film I’m fairly positive I’ll appreciate even more once I have done so.

Waititi balances the horrifying and the hysterical with relative ease.