Creating an epic that can balance mythical and a sense of traditionalism, especially out of the Chinese market without falling into melodrama is a specific balance. This of course has to do with the nature of translation but when a sense of visual style and storytelling find a balance, it can really work.

The adventures of Hercules Poirot play on the texture of perception, location and deduction while still creating both a sense of time and tension. While the last two films directed and starring Kenneth Branagh understood their task, the style applied to "A Haunting In Venice' (enhanced for IMAX) really uses the approach as an exercise but also a classical progression of how such a film is done.

The context of "The Nun II" has to do with progression of character versus context of the journey. After the events of the first film, the ideas of faith versus intent would seem to be a solid approach for the sequel. While this film does it admirably on certain levels including via locations, visual style and efficient storytelling (for the most part), it does have some issues.

The aspect of a vampire debating the textures of life from a very geographical point of view is unusual but with a director like Pablo Larrain, like Jim Jarmusch and Abel Ferrara before -- directors known for different kinds of films —- taking a swing at this idea/genre can produce both interesting results but also missed opportunities.

The essence of the Djinn mythology has played a large part in the context of Far East mythology specifically in Indonesia and the Indian subcontinent. Using this element in a horror structure while surrounding it with social context, conscience and battles of good vs. evil creates complex ideals that are both intense and yet mythic and thematic

The basis for "The Equalizer" is in its name. The concept of quid pro quo despite an end game that is very finite. When we last saw McCall (literally in the middle of a storm), the idea was that the wolf will always be hunting. What is interesting in the forward plot of "The Equalizer 3" is the essence of human nature, including compassion, especially for a hit man in the time he finds himself.

The progression of DC superheroes depends usually on the aspect of perspective of what kind of persona it implies. "Blue Beetle", at least envisioned as he was in animated form, was more of a goofy, more Deadpool-spun (but PG rated) pop culture referencer who skewed a little younger but cooler. In reinventing the approach here, director Angel Manuel Soto has created a different universe but one that in and of itself has its own unique energy.

"Strays" is an interesting experiment in adult comedy which gets many things right in terms of its narrative and metaphor but loses more in terms of how far it is willing to go in terms of taste. The crux of the element here is hearing a film that sounds improvised but was probably heavily scripted to a fault in its tone in order to get some of the quips that the dogs have to go through.

The conceit of a new action franchise is dependent on the strength of the story involved. With "Heart Of Stone", premiering on Netflix,Gal Gadot flushes out an interesting character: a spy hiding in plain sight within the halls of espionage.