The mixing of the cartoon world and the real world is always an interesting cauldron because it uses both context and tone as a balance of the time it is in. “Coyote Va. Acme” exists in its own state but also the world it is currently in. “Roger Rabbit” was set in the time of the 40s with a different pair of eyes but also was the heyday of Looney Tunes cartoons. They were big stars. Today’s kids barely know them but their parents still have an idea of where they come from.

The aspect of any Ridley Scott film has to do with control, perspective and shift. Sometimes, in recent memory, his films have gone wayward losing themselves more in the concept than the arch of the story. With “The Dog Stars” there is more an efficiency of path, which was probably dictated by the novel but its efficiency and baseline element explored in the pace give it a much more organic progression than say “Gladiator 2” which was much more meandering.

The aspect of the franchise dealing with one family in certain ways like "The Conjuring" pushed the notion of the idea of The Red Door. What "Insidious: Out Of The Further" does is open the concept up a little bit though it still uses the consistency of Claire in Lin Shaye to anchor it. "Resident Evil" coming up faces a similar obstacle to overcome but Shaye’s presence is what allows the film to bridge into itself.

Jason Statham is a chameleon of the action genre. He knows his strengths but also has enough range and charm to make any concept work. Working within his own vehicles, he has figured out the longevity of these mid range pictures that sell well internationally (and he also produces). "Mutiny" is effective and not unlike "Under Siege" in a way using a boat as a structure with a bigger foe awaiting back on land. The set up here makes sense and keys a little bit of "The Transporter" into it which is what kicked off Statham’s career.

Different variations of apocalypse in a post AI world populate the film landscape right now even more than usual since it is now undeniably part of the zeitgeist. Agnieszka Smoczyńska who as a director has made a diversified selection of genre films continues to look through her effective and specific lens in "Hot Spot", her first film released by a major US distributor in Focus Features. It very much feels like an independent approach (which reflects her well -- but with more resources).

The aspect of a film like "The End Of Oak Street" is mixing different natures of the 80s films we know and love. The trailers gave away the concept but not the full play of its tendencies. Producer JJ Abrams obviously has a soft spot for this type of films. It plays out well but also expects you not to look too hard at the plot holes while still enjoying its rewards.

The beginning of the film “The Brink Of War” speaks of the Soviet Union contemplating first strike because of US President Ronald Reagan’s backing and support of his new Star Wars defense system. The movie speaks to a meeting in 1986 requested by new General Secretary Mikhail Gorbachev with Reagan in perhaps an attempt to bring the temperature down.

Alex Cox has always done things his way and with what is marketed as his final film: “Dead Souls” is an interesting interplay on the notion of reality and the con. Made on a shoestring in the middle of Spain, it pays tribute to the spaghetti westerns but with a character called Strindler who wanders in like a bad tax accountant and stirs up trouble, the play is about what we believe. Cox himself plays the man with an earnestness but also a mysteriousness that never really comes to bear but also delivers in many ways.

The drama "The Theft Of The Caravaggio", disguised as a would-be heist film works on the context of a man searching for redemption in a situation which, even within himself, her cannot control. The film was shot in Malta which has turned into a film hot spot as of late. However this film trying to be a mediation of faith and perspective fails to connect, either visually or within a true story context