NOTE: THIS REVIEW CONTAINS MINOR SPOILERS FOR SUICIDE SQUAD. IF YOU WISH TO HAVE THE FILM REMAIN UNSPOILED, THEN FEEL FREE TO SKIP THIS REVIEW.

Well that was...something.

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Well that was a let down.

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A stripped down, no-nonsense adaptation of Ernest Hemmingway's 1927 short-story, which had previously been adapted in 1946 by Robert Siodmak, and starring Burt Lancaster and Ava Gardner, the 1964 version of The Killers is an effective and enjoyably straightforward film noir, directed with smooth efficiency by Don Siegel (Dirty Harry), and performed with skill by a clutch of great actors, such as Lee Marvin, Angie Dickinson, John Cassavetes, and, in his final role before entering politics,

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Finding Dory stands as a rapturously moving, deeply heartfelt sequel to one of Pixar's best films, and, while building on the structure and characters of the previous film, manages to take itself in new directions, without ever loosing the endearing sense of heart and soul, and the message of family that defined Finding Nemo.

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SPIDERS.

The best possible way to try and describe Denis Villeneuve's psychological thriller Enemy is as some strange, aberrant, yet utterly absorbing blend of David Lynch Lost Highway, Stanley Kubrick's Eyes Wide Shut and Ingmar Bergman's Persona. Except with duplicate Jake Gyllenhaals, and gigantic spiders.

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“Supergirl” has found its Man of Steel; “Teen Wolf” alum Tyler Hoechlin has been cast as Superman/Clark Kent in Season 2 of the Greg Berlanti-produced drama, which is making the jump from CBS to The CW for its sophomore outing.

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On the Waterfront is director Elia Kazan's stellar answer to the wave of criticism he faced in the aftermath of his testfying in front of the HUAC, and in creating this film, Kazan gave us a timeless masterpiece, with a central message about the power of truth in the face of adversity that, more than sixty years later, still manages to speak truth.

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I can now say, with much pride and satisfaction, to have seen every single feature length film that the Coen Brothers have made.

I finish my dauntless trek through their filmography with this, their seventeenth, and most recent feature, which plays as a laid back, droll self deprecating look at the mighty dream factory that was Hollywood at the very heights of the storied Studio Area.

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Yo, remember when Bryan Singer made good movies, and not just increasingly crappy sequels to subpar superhero movies?

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