Film

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It’s clear that the current deluge of recycled material spawns not from passion alone. Disney saw the easy money and seized it. But restricting output to mainly remakes confines the imagination to a single world of characters and hampers personal creative expression.

NOSELL

The film serves up soundbites of popularly accepted ideas, content for the audience to vigorously nod their approval at and quote on Facebook when they return home, but nothing substantial.

NOSELL

“Suffragette” could join the ranks of throwaway British period pieces (unique only by its lack of Kiera Knightly) but the film’s context within the modern world provides the possibility for longevity — it makes cultural points, but not necessarily the right ones. Maybe “Suffragette” will only be remembered for what it does wrong, but at least it will (unlike many of its peer films) be remembered.

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Almost every Pixar movie could be considered sci-fi if you consider that animals, toys and cars don’t speak in real life, but “Inside Out” does more than just anthropomorphize.

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“Room,” a film currently suspended in a sea of Oscar-buzz, is difficult to confine within a genre. It’s billed as a thriller, but the label “horror” may be a better fit.

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Despite the hype, “Spectre” falls short of being something spectacular.

“Kung Fury” is a brilliant homage to the cinema of the 1980s (especially kung fu and cop films) and illustrates the maximum potential filmmakers have in the digital age.

NOSELL

No one dresses up in white tuxes and sips martinis in the movie theater to celebrate the next 007 addition.

Part of the reason why “The Peanuts Movie” works so well is that it feels suitably subdued in time.

As it unfolds, we are trapped by its narrative and its compelling cast. We have no choice but to experience it with the same claustrophobia as its characters.