31.) Child 44 [4/27/2015]

Set in Stalin's post war Russia, Child 44 examined the flaws inherent in the denial of societal realities (particularly Stalin's notion that there could be no murder in paradise or that Russia's brand of dystopian paranoia was paradise); Tom Hardy is, as per usual, excellent, though I wonder why there weren't more Russian actors in lead roles.

30.) Age of Adeline [4/25/2015]

In all honesty, I'll likely forget I've seen this movie in a few months if it weren't for this blog; there was nothing particularly bad about this romance with touches of magical realism that cribs heavily from Tuck Everlasting, and some parts were even interesting or entertaining; however, in the end, it was ultimately forgettable. 

29.) While We're Young [4/24/2015]

Like a lot of Noah Baumbach's movies, While We're Young explores getting older with characters that seem hesitant to do so, and this movie, specifically, examines the metrics used to judge one's success at being an adult; if you liked his other movies, particularly Greenberg, then you'll like this one.

28.) Woman in Gold [4/11/15]

A rare dramatic role for the charming Ryan Reynolds (paired with the always amazing Helen Mirren), this movie was about how the Nazis attempted to completely erase the Jews - in body, in culture, in spirit; this excellent film examined the nature of memories and the need for metaphors to help move on.

27.) Furious 7 [4/3/2015 - IMAX]

Let's be honest: no one goes to see these movies for the plot or the acting or any number of other things for which people go to see movies, rather people go to see beautiful people drive cars and fight, and in that respect, this movie provides what it offers, and only that; as a movie, it was terrible and convoluted, but as a touching goodbye from a group of friends to Paul Walker, it was a really touching film (particularly the re-shot ending).

26.) Run All Night [4/1/2015]

This one was genuinely, surprisingly enjoyable old-man crime movie in which an incredibly menacing Ed Harris faces off against a drunken, bumbling Liam Neeson over a family dispute despite deep personal connections; it was a different role for Neeson, within, of course, his typical oeuvre but a far cry from the confident, self-assured murder machine in Taken 1 - 8, or whatever; and though I felt like some of the scenes were out of order, I walked away liking what was a subtle, often moving film (less than The Drop but far more than 88 Minutes, to put it in perspective).