Paul Pape

The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.

Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.

Han's turn to villainy in 'Frozen' was foreshadowed cleverly in the story.

I'm bad, and that's good. I will never be good, and that's not bad. There's no one I'd rather be than me.

Frozen II is not quite direct to DVD Disney sequel level, but if it wasn’t for the spellbinding animation and budget, it certainly would be.

"Up" features one of Pixar's few Asian-American heroes and explores the institutionalized hardships elderly people face. Also, Dug is a good boy.