The progression of a horror film that is both in the mind and on the ground is an interesting juxtaposition. The problem with “Never Let Go” is that it never quite defines what it is. Mama (Halle Berry) and her children are seemingly the only survivors of a world gone mad. But the actual perpetrator, even in the finale, doesn’t quite come to bear.

The essence of “The Crow” is always going to be shadowed by Brandon Lee. “The Crow” [1994] was a product of its time and had a mythical edge of sorts to it which is understandable which was only heightened by its circumstances. The new iteration starring Bill Skarsgard and directed by “Snow White and the Huntsman” helmer Rupert Sanders is remarkably beautiful in many ways.

The aspect of making history both entertaining but also prevalent in character is a balance, especially when it involves action and comedy. With "The Ministry Of Ungentlemanly Warfare", director Guy Ritchie uses his approach to again make something off-the-cuff.

The context of creation and eventuality is at the core of "The Hunger Games" prequel: "The Ballad Of Songbird & Snakes". Smaller in scale in certain ways than its predecessor, its essence of its love story per se is what drives the humanity of what it shows.

The context of a would be heist/spy thriller all reflects in the tone of a film. Guy Ritchie has always been great at balancing the aspect of bug budget with scrappy independent-feel pieces. With "Operation Fortune - Ruse De Guerre", he finds the best balance so far because the approach is both humorous, dynamic, fun and doesn't take itself too seriously.

The texture of "Plane" has not been unseen in movie memory but its effectiveness is undeniably sound. Instead of more CG or heightened thrillers, Gerard Butler has delivered a more grounded, economical but also well paced and well acted action movie.

Sometimes movies are just made for fun but it is understanding the tonality and the idea of who makes it without attaching any sort of expectation. "Moonfall" is a bad movie but in a wonderful elative way because it is so bonkers in so many respects (yet both derivative and original).

"Die In A Gunfight" wants to be a fable bringing an essence of "Heathers" and Baz Luhrmann's "Romeo & Juliet" to its identity but never quite makes the grade.

Ryan Reynolds is currently and easily the biggest star in "The Hitman's Wife's Bodyguard" but he knows when you have the generation before you with their heavy hitters playing in the sandbox that you let them do their thing. That takes a confident star (and a penitent one too).