This is far from Fuqua’s own Training Day and Washington’s other impressive body of work, but The Equalizer is a good reminder of what we may be missing.

We have already seen Linklater’s love for letting his characters drive the story rather than the other way around. However, in Boyhood — beginning with the first shot of Mason (Coltrane) lying on the grass, his arm stretched at an odd angle behind him, looking up at the sky — the biggest presence is the absence of a “driving force”, quite like in real life. It’s because life happens when you are busy doing other things…

‘Nightcrawler’ is no ‘Taxi Driver’, and Lou while a reflection of our full and empty times isn’t really a product of it.

THE height of dramatic tension in ‘Interstellar’ involves two spaceships competing to dock onto the same space station. That’s how cerebral Christopher Nolan’s latest film is. That’s after he has taken a swirl through a twister of a wormhole, but before he rolls into the unfathomed depths of a blackhole. And while other filmmakers would be content imagining just one other world, he gives us three — with own skies, gravity, surfaces, and climates.

For, if there are two sides to every story, few are held as dear as in a marriage — both of which the book perfectly understood. The problem always was going to be how to translate its gradual transitions as well as unexpected twists onto the big screen. In that, Flynn, also the screenwriter, couldn’t have asked for a better director than David Fincher, the clever exponent of tense relationships, misogynist protagonists, orchestrated violence, and people living double lives (Se7en, Fight Club, The Social Network, The Girl With The Dragon Tattoo).

Readers of the book have praised the film for being better than it, and there can be few greater compliments. However, Ball’s biggest achievement is letting us see the children at the heart of this coming-of-age story.

The film itself could do with some bit of tightening, but while they are on screen, it’s a pleasure to watch each one of them. Particularly Aniston, who once again shows that she clearly understands what she represents and how to make the most of it.

This may be the best work from director Wes Anderson…

Begin Again is almost hopeless in the cliched characters and story plots it trots out. Music, Dan says, can lend even mundane things a meaning. It does, it does.

The sequel to 2011′s well-received Rise of the Planet of the Apes is not just an astounding achievement in special effects — though there’s that too, from how the apes communicate to emote to swing from trees to wield weapons to ride horses and battle. It does one better in propelling the story towards its inevitable war and its inevitably bleak finale. In the mindless destruction they wreak on each other, the men and apes can’t be told apart — a fact that the film underlines unfailingly, at the threat of repeating itself.