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Darkly humorous and steeped in cynicism, Slow West is a genre exercise that doesn't really break new ground but effectively traverses existing territory.
Gil Kenan's 2015 remake of Tobe Hooper's Poltergeist has some technical suave, but its sloppy attention to character and story, and a repetitive need for jump scares, reduces this to little more than a dull and forgettable experience.
Tomorrowland is a mess of a film, a pointless, blathering wannabe, preaching about inspiration and imagination unable to live up to its own sermon.
Elizabeth Banks' directorial debut Pitch Perfect 2 sacrifices a decent enough story, led by the always delightful Anna Kendrick, by relentlessly unfunny bits of Rebel Wilson riffing.
It's because of movies like Mad Max: Fury Road that movie theaters were invented as George Miller has crafted one of the best studio blockbusters in a long, long time.
Mad Max Beyond Thunderdome ultimately becomes more a frustration of what could have been rather than appreciation for what it is as it does offer some level of intrigue, but can't get beyond its clunky, Peter Pan plotting.
While I hold its predecessor ever so slightly higher in esteem, there's no doubt George Miller's The Road Warrior is an explosive sequel and one of the very best action films of all-time.
George Miller's Mad Max is a darkly satisfying character piece as one man attempts to leave behind the violence the world is forcing him to accept only to suffer the ultimate sacrifice in the end, his soul.
The Connection serves almost more as an homage to Mann, De Palma and Scorsese than anything else, and while it can't live up to its influences, it's nonetheless a rock solid period thriller.
Hot Pursuit is the kind of hot mess I thought Reese Witherspoon was putting in her rear view after the likes of Gone Girl and Wild, but perhaps she needed one more stinker to put the final nail in that coffin.