The Lobster is a daft little tale fashioned from sharp imagination that jabs at societal pressures in an uncommon manner. And, most importantly, the absurd character conundrums allow for imaginative humor throughout.

During his initial interview at The Hotel, David (Farrell) long pauses, speculating with which sex he has a better chance. As we progress, the moral lessons suggest fable, especially when former Hotel guests wander the woods as exotic animals. Then, the humdrum delivery of each subtly twisted thought explains many awkward behaviors, lending reason to Limping Man (Ben Whishaw) intentionally slamming his nose on the side of the pool.

It is a technically constructed film from the score to the dialogue. We are allowed to comprehend the oddity of this circle, and The Loners outside, and accept it as almost normal with the film’s only flaw being an overthought final journey to the provocative Shakespearean-like ending.

The acting style is fascinating with Farrell leading the campaign as all involved epitomize slightly uncomfortable interactions. The film takes all expectations and dowses them with even more weirdness. Although The Lobster cannot quite claw its way into the Film Clas elite, it grasps a respectable 4.4 napkins out of 5.

The Nice Guys ticks all the boxes as our merrymaking duo provides continuous laughs throughout this outrageous story.

Jackson Healy (Crowe) and Holland March (Gosling) are the bully and the hoodwinking idiot, respectively. March hired to find Amelia (Margaret Qualley) and Healy hired to ensure she isn’t found. A hilarious first encounter precludes a partnership in an investigation that plumes out of control.

Ryan Gosling is must-see as a comedy lead, delivering perfectly timed wit (or dimwit) and self-serving reason for the entire film. Heck, March’s anti-ventriloquism take is the funniest moment in the movies this year. This I know. But I did not know Russell Crowe could complement “funny” so well. After all, this is General Maximus muckraking through the 1970s L.A. porn scene with a doofus sidekick. It is too good.

But these epic performances are marginally overshadowed by the brainy, confident and droll Holly March (Angourie Rice). As the 13 year-old daughter of Holland, she is especially intuitive and counteracts her bumbling screen-mates with logic and frowning disapproval.

We award an unprecedented 4.99 napkins out of 5 to The Nice Guys which vaults this film, butterfly collars and double knit fancies high into the Film Clas elite.

Civil War is a brew of way too many superheroes (and punches) for any one film. Yet, from this composite, a precipitate story of loyalty and self-actualization, painted with warranted revenge, emerges. And the best thing is, whenever Tony Stark (Downey Jr.) tries to overwhelm the film, we are quickly reminded that Steve Rogers (Evans) is our main character.

Rogers riffs with his heroic pals because he won’t give in to government oversight. There is the story. There is the divide rooted in the film’s title. However, the seeds for this divide are purposely planted by Baron Zemo, played by the fantastic Daniel Bruhl, who lost his family due to consequences stemming from The Avengers disregard.

I appreciated Zemo as a clever man of sinister tendencies rather than a cloaked villain. He plucks at Rogers by manipulating Bucky Barnes (Sebastian Stan) into incriminating scenarios knowing that loyalty to his friend would outshine allegiance to his peers.

These films are annoyingly inconclusive as each one serves as the basis for another film and countless spinoffs. However, The Captain America thread is legit, fighting for justice with a shield and 3.9 starred napkins out of 5.

Keegan-Michael Key and Jordan Peele are the comedic cat’s pajamas du jour. To no surprise, they have painted a feature film from their many hilarious comedy sketches. Yes, it is ridiculous. But what film isn’t in some form or another?

The beauty of the movie lies in the cuteness of this kitten. It captures the hearts of all who it encounters. Gangsters, assassins, drug dealers and two ordinary cousins fall prey to this undeniable adorability. Said cousins, Clarence and Rell (Key and Peele, respectively), could not be more ill-prepared for the ensuing tomfoolery. Adopting the aliases of Shark Tank and Tectonic as well as stereotypical “street speak”, they involuntarily go undercover to retrieve Keanu while delivering unprecedented timing and envelope-pushing comedy.

From Clarence’ infatuation with George Michael and his background in team building to Rell’s recent heartbreak and propensity for weed and the interaction of these two, this movie is entertaining from Keanu’s first gunfight-escaping gallop.

This is the movie you would hope these two geniuses would create. Only the obligatory Danny Trejo cameo could have made this film better as Keanu naps on and scratches it’s way through 4.1 napkins out of 5.

Nestled amidst the distracting blockbusters, we find this vernal gem of a show, greeting us with a friendly title and an involving story that is enjoyably awkward.

Doris’ (Sally Field) days are mundane to say the least. However, with regard to her expertise in data entry and hoarding, the boredom is supplemented with a unique style. She wears colorful outfits, several pairs of retro-framed glasses (some at the same time) and flaunts an innocent wit. It’s this benign persona that creates a theatrical fan base and garners the eye of her new, younger boss, John (Max Greenfield). This has a two-pronged effect as she gains individual confidence but sees candy hearts every time he speaks to her, lending to the film’s central narrative.

The supporting cast strengthens the film altogether. Roz (Tyne Daly), Doris’ best friend, comically nay-says everything and Roz’ grand daughter, Vivian (Isabella Acres), provides Doris with social media and teenage finesse. And the film also boasts some of the funniest stereotypical Brooklynite ribbing.

This is a great story about relationships and sorting your way through life, frontwards and backwards. We enter 4.1 napkins out of 5 for Doris into the Film Clas spreadsheet.

Is Eye in the Sky white knuckle with some chuckle? That is, as the red tape widens and the plot thickens, does humor subtly infiltrate to redirect the tone of the film? Let’s delve.

There is no doubting the nature of the picture; drone surveillance, anti-terrorism and warfare. Serious stuff. However, an element of satire arises as the film progresses. Now, by no means does Charlie Sheen appear and say, “Are too times ten”, but there are certainly moments where you wonder if Hood is using reality or parody to tell the story.

Case in point, the British Foreign Secretary, speaking at a Singapore conference with the acronym I.B.S., succumbs to sudden intestinal issues. And, as the decision to strike is bounced back and forth within the chains of command, the U.S. Secretary of State is contacted during a pig-pong match in China. These are slight comic interludes but certainly enough to modify the tenor of the picture.

Eye in the Sky is an intelligent film with insight and solid acting. We respectfully say goodbye to the great Alan Rickman with 3.94 napkins out of 5 and two rolls of parchment.

It is too bad Two-Face did not make an appearance in Batman v Superman because the film is divided into distinctly opposite halves.

First, the story is smartly introduced through flashbacks and well manicured “set-ups” to turn the public, including Batman, against Superman. We gain legitimate insight into their polar opposite alter-egos and I thought Kent (Cavill) and Wayne (Affleck) were sound. Then, in a flash, our dueling superheroes go from adversaries to amigos and the barely watchable concluding hour begins and seemingly never ends.

Jeremy Irons’ no-nonsense Alfred was the clear highlight of the film. Amy Adams’ red-haired Lois Lane was curious, forthright and smart as well.

I missed the wit and slight humor of Batman. It was a very serious film and so much of the “entertainment” is in the overwhelming and headache-inducing effects. Jesse Eisenberg is victimized by typecasting as his Luthor spews anxious and over-intelligent drivel to the point I thought he was going to yell, “I created the Facebook!”

Holy underachieved potential, Batman!! This film can only signal 2.2 napkins out of 5 as Frank Costanza’s lawyer is still the most interesting man in a cape.

Nice one, 10 Cloverfied Lane. Well done.

The start was startling; a violent collision and a tumbling car followed by shocked silence. For me, this accident was the only certainty of the film. Afterwards, Michelle (Mary Elizabeth Winstead) finds herself chained to a wall and speculation infuses. Guilt trips, deceit, humor and delusional familial construct with a solid undercurrent of distrust coat the film until the climax. The thought of trauma-induced hallucinations was even plausible. I didn’t even trust the seminal midpoint of the film refusing to commit to dream, hoax or apocalypse.

John Goodman is fantastic, as always, portraying the unnervingly prepared emancipator, Howard. John Gallagher Jr. adds a soothing dynamic to the tension abound the triumvirate with his aloof and whimsical Emmett. And we wanted Michelle to succeed, whatever that meant.

This film kept me buoyed by suspense and second guesses right up until the end. It was designed to see-saw us back and fourth between perceived certainties at just the right moments. The toilet in the shower might deter potential buyers from 10 Cloverfield Lane but a 4.1 out of 5 napkin rating shows theatrical value.

This film is vanity served up two ways. First, sauteed with narcissism and self-absorption ensuring that Reynolds’ brand of buffoonery would define the film. Second, reduced down to a sauce of pointless and protracted action sequences and dark, over-sexual and unfunny attempts at wit.

The production companies tabled this film for over ten years. They should have left it on the table and threw the table in the fire of one of those aforementioned useless explosions. In researching this story, it seems some wild liberties were taken with the comic to clear the way for more proverbial wank jokes. The avocado bit was funny, yes, but it was flanked on both sides by unnecessary narration, pointless fourth wall breaks and toilet humor.

Deadpool is dumb. Somehow I think that was the point. If you like Reynolds doing slow motion, horizontal airborne spins while complimenting himself and mocking other actors and films, by all means. Personally, I think he should stick to movies like “Employee of the Month”. Wait a second, that was Dane Cook! Same thing, I guess. In short, Deadpool clings to its 1.1 napkins out of 5.

Rafiki (Tshidi Manye) began to sing, giraffes sauntered across the stage, other animals emerged from the audience and tears ran down my face. For the next two hours, we were held blissfully in the story, music and pageantry of this must see.

The choreography, the costumes, the orchestra and percussion and the amazing talents (vocal and thespian) of the participants were all jaw-dropping. For example, when Mufasa (L. Steven Taylor) and Scar (Gareth Saxe) square off, their lion heads lower in front of their faces as the they impeccably act out animal motions and gestures; a single feature so beautifully perfect.

The production answered every question regarding the translation from animation to stage with wide-eyed imagination and asked the audience to believe. And we effortlessly obliged. Each song, from the haunting “Be Prepared” (Saxe) to the playful “Hakuna Matata” (Julian Silva, Jelani Remy, Fred Berman and Ben Jeffrey), was superb.

This wonderful musical is the single most entertaining experience out there. I jumped from my seat to applaud at curtain call. Simba just can’t wait to be king and Film Clas just can’t wait to gladly bestow 5 out of 5 napkins upon The Lion King!