Kenneth Lonergan, through inventive chronology, uses tragedy as an explanation rather than an emotional candlewick. As a result, he controls our sentiments delicately to deliver the wonderful film, Manchester by the Sea.

There is an unapologetic authenticity to movies set in this area. It’s almost as if there is no script, just situations and a freedom to be Bostonian. Lonergan elevates this notion as we quietly sit in the backseat, for example, of the rickety Jeep Cherokee while Lee (Affleck) and Patty (Hedges) argue about the proficiency of the car heater. It’s brilliant.

Throughout the film, Patty presses Lee with wry condescension but the disposition of a pal as they wrangle their way through paperwork, emerging adulthood and understanding. Lee, sunken eyed and fractured, welcomes all sentiments without offering any excuses. Affleck’s performance is beyond full marks and Michelle Williams’ bit part is as poignant and showstopping as you will see.

Somehow, Lonergan folded the slightest humor and a slim resolve into the seemingly chronic despair which is extremely lasting. It is what we walked away with. And that is deserving of high praise as Manchester by the Sea sets sail with an incomparable 4.995 napkins out of 5.

*thoughtfully spoiler free*

Rogue One is the feisty narrative that callously shimmies its way into the story that we adore. And, with the film’s grittiness complimenting the rebellion it portrays, it is nothing short of exceptional.

It’s a bit tasking writing to an incredibly rigid conclusion, for sure, yet Weintz (Antz) created a script that was not only compelling but surprisingly unique and noticeably darker. And there are no apologies as we find ourselves privy to the gravity of the task asked of the Alliance. As we progress, gumption and allegiance guide decision making and precipitate an epic finish.

Jyn Orso (Jones) and Cassian Andor (Luna) are our disparate leaders; a proud maverick and a tactical captain, respectively, spiriting the directive. We find the lovable and corny droid humor from K-2SO but only a dusting of the force, lending to the film’s gutsy human impression.

Edwards certainly championed the details as we race to the original opening crawl. The film builds off an accepted story with soul and resolve. Rogue One call signs 4.76 napkins out of 5, which is equal to the IQ of the Stormtroopers featured in the film. And that’s as authentically Star Wars as it gets.

The fleeting moon evokes thoughts of alienation and sadness alongside the traditional ideas of love and awe. These contrary notions are upfront in Barry Jenkins’ glaringly excellent film, Moonlight.

The story is original to acclaimed playwright, Tarell Alvin McCraney, and is presented as such; a series of three acts each representing a period in Chiron’s life. Moonlight’s essence is found in the conclusion of all these acts. The rest of the film carries us to these moments of raw emotion that are difficult to move on from. It is a slightly frustrating yet brilliant tactic by Jenkins. But, in fairness, Chiron had to fight through these defining moments as they happened. These abrupt breaks allow contemplation of the emotional weight the film bears.

Juan (Ali), responsible for Chiron’s need for guidance while providing the guidance he needs, grabs hold of many affecting scenes in the film and conveys this duality effortlessly. Chiron (Hibbert, Sanders and Rhodes) has our hearts throughout and Paula (Harris), our pity.

The movie is wonderfully set against the colors of Miami and engagingly filmed. Moonlight gravitates to the welcoming glow of The Film Clas elite, beaming with 4.93 incandescent napkins out of 5.