While people who prefer their music as predictable background noise may find the shifts in 'The Architect Becomes a Tree' unsettling, those who appreciate growth and progression in their music will find a lot to enjoy with successive plays.

In all, 'Evangelion 3.33' is that most unfortunate of films – one with dynamite potential, but does nothing with it.

If 'Side Effects' is indeed Stephen Soderbergh’s final film (please, no!) he goes out in a predictably unpredictable manner. The auteur's finale, like that of this film, comes well before its welcome is worn.

The biggest problems with Baz Luhrmann's 'The Great Gatsby' are what should have been its biggest strengths. What should be crescendos of sensory bombast equate more to pageantry without payoff.

'Premium Rush' satisfies itself by being a quick, jaunty interlude before moving onto more important matters - the kind of things that absolutely, positively have to be done as soon as possible.

The half way point of the 'Rebuild of Evangelion' has managed to remain true to the spirit of original series while blazing its own path forward.

On its own there is little to make Evangelion: 1.11 standout, either as an individual film or from the original shows, making it valuable solely for those willing to invest in the entire series.

As with A Tribe Called Quest's music, the film's audience is undoubtedly limited, but those who listen will be enlightened while those who don't will miss out.

From the quiet opening narration to the illogical but hilarious tag, Iron Man 3 is a smorgasbord of action, explosions, metal and humor.

At first 'Cloud Atlas' feels like a lumbering, disjointed choir, but gradually the lines weave together into a grand, ambitious, flawed spectacle

'Bioshock Infinite' is not addressing racism or religious fanaticism, it’s saying that evil people will do evil things simply because they are evil.

It’s kind of silly and a little baffling to say that a violent movie like Terminator 2 taught me that violence is an evil thing. But it did.

True to its name, the film Lincoln is admirable and considerate but distant.

The final sequence of Zero Dark Thirty, in particular, while clearly predictable, is a tense and immaculately executed work of military drama.

I recently attended a spoken word performance by my friend and Pop Mythology contributor Jess Kroll. I loved his piece, "This Little Light," so much, and thought that it resonated with the themes of this site so well, that I asked him to post it here.