While No Man’s Land’s finale is hardly original or unexpected, it still carries a fair amount of emotional weight that stopped my heart cold right at the very moment it was supposed to.

The Dark and the Wicked isn’t a piece of light and fluffy horror entertainment. There are no rainbows here, Bryan Bertino’s latest more than living up to its title as being both agonizingly dark and paralyzingly wicked.

If Roland Emmerich’s outlandishly overblown 2009 hit 2012 and Roar Uthaug’s 2015 critical darling The Wave got together and had a baby, it would probably look a lot like Ric Roman Waugh’s goofy-if-grounded Gerard Butler disaster epic Greenland.

Collateral has held up brilliantly. A great film at the time of its release, Michael Mann’s seductively unsettling crime thriller has to my mind emerged as one of the the 21st century’s best pieces of pop entertainment.

Songbird pushes buttons that feel ugly and inappropriate, all of which makes giving the film any sort of fair assessment difficult to do.

While harmless and not altogether without its minor pleasures, Vanguard is instantly forgettable, and if one wants to see Chan at the height of his creative powers I suggest re-watching the original Police Story trilogy instead of this.

2067 is aggressively underwhelming, and even though writer/director Seth Larney makes the most of his limited budget, this is one science fiction adventure I’d rather have avoided going on.

Freaky is an imaginative body-swap horror-comedy where thrills and chills relax comfortably alongside giggles and guffaws with intoxicating grace.

Let Him Go is a quiet meditation on grief, forgiveness, regret and family that managed to leave something of a noticeable impression, tragedy, joy, misery and sacrifice all melding into one, powerfully impactful emotional response richly deserving of a few empathetic tears.