If Boseman wins a Golden Globe for his performance (he is nominated for best actor in a drama), some will believe it is out of sympathy. That thought should be dispelled now, as it diminishes his incredible work. In “Ma Rainey,” based on the like-titled August Wilson play, Boseman plays Levee Green, a trumpet player in a music world where black artists are mercilessly abused. Although capable of writing and playing with the best, Levee is relegated to backing Ma Rainey (Viola Davis, also nominated for a Globe), a black diva who has achieved enough fame and success to hold sway over white record producers.

While director Noah Hutton does a great job of illustrating the world he’s created through small scenes that show you how disingenuous the cabling company is and how desperate people are to make some extra cash, the film is still lacking. On one hand, Hutton replicates the dialogue and actions of human beings quite well. On the other, he does it so well that it becomes dull. The whole movie feels like a pilot to the miniseries.

The performances are terrific, with Jared Leto giving a particularly superb performance as the  prime suspect, Albert Sparma. Leto creates an eerily charming antagonist who perfectly plays to the air of mystery, doubt, and confusion the film aims to create.  In typical noir style, the film offers no heroes -- which is utilized to serve the film’s theme on obsession and the nature of justice. Instead of conflicted characters who falter clearly behind the lines of right and wrong, these  characters always seem to be in the middle of the road.

Dugan’s career has many highlights, including a much-loved acting stint as Captain Freedom on the TV drama Hill Street Blues. He has been even more successful in the director’s chair, with credits garnering more than $1 billion total. His directorial works include Problem Child (1990), Happy Gilmore (1996), Big Daddy (1999) and Grown Ups 1 and 2 (2010, 2013). For Love, Weddings and Other Disasters he tapped into his talent, not only writing, directing and producing, but playing the key supporting role of Eddie Stone.

Still, one is hard-pressed to think of a filmmaker who’s as absolutely singular as Wes Anderson, and even harder-pressed to think of a fanbase best described as completists. I’m not sure that a casual Wes Anderson fan exists. Once you twirl into his world, it’s easy to get lost there—drunk on his outlandish, affected aesthetics, dazzled by his constricted idiosyncrasy, baffled by his reinvention of what cinematic language can look like.

Love and Monsters may not become a classic, but it’s a truly great time. It’s scary enough to work as a Halloween film, romantic and funny enough to transcend the horror genre, and written with both an edge and wit. Writers Brian Duffield and Matthew Robinson deserve significant credit because – while genre-crossing films are sought after – they don’t always work. But Love and Monsters succeeds exceptionally well.

The child of a doomed marriage, Stone vividly describes the domestic turmoil of his early years in New York and Connecticut. The restless son of a stockbroker and a vivacious French woman, Stone attended Yale, but dropped out and enlisted in the Marines at the height of the conflict in Vietnam. His experiences there, together with a sobering return to the States, were channeled into the making of Platoon, which remains among his signal achievements.

Ragen, Parrish, PenaVega and the rest of the cast are charming enough, but some elements of the story are underdeveloped, while others batter the audience like a sledgehammer. One doesn’t watch Mighty Oak so much as he/she is manipulated by it. Some filmmakers – Steven Spielberg chief among them – can get away with this type of manipulation. But Spielberg is nuanced. With Mighty Oak, one can feel McNamara and Allen tugging at the heartstrings, and it’s more uncomfortable than effective.

Vollrath makes the most of the confined setting -- something that could hurt a weaker filmmaker. In some respects, 7500 must have been easy to produce. A single location, small cast, and minimal set dressing all speed the shooting process, but these things come with restraints. When all the action is set in an airplane cockpit, there are no astonishing backdrops or special effects to use as a crutch. The weight of the storytelling is relegated to the script and its handful of actors.

Is Chinatown the best American film ever made? It certainly belongs in the top ranks, as many can attest. After its release in 1974, Chinatown garnered nearly a dozen Academy Award nominations, although the only winner was for Best Original Screenplay. Its Los Angeles-noir atmospherics—and its theme of deeply ingrained political corruption—seem as fresh and powerful today, over 40 years later.