ALLEGIANT

Over the past seven months, YA-lit adaptations have arrived in the forms of Maze Runner: The Scorch Trials, The Hunger Games: Mockingjay – Part 2, The 5th Wave, and now Allegiant, the first part of the second sequel (yeah, I know ...) to 2014’s teen-dystopia thriller Divergent. And in each one of these releases, we’re taken to a hidden facility where our heroic youths are trained in combat and wartime procedures, sleep in bunk beds, eat in mess halls, and don nearly identical outfits designed, one presumes, to give them a collective sense of unity, purpose, and pride.

10 CLOVERFIELD LANE

If your biggest complaint about a movie lies with its title, that movie is probably pretty great, and director Dan Trachtenberg’s 10 Cloverfield Lane is pretty great – a splendidly acted, hugely entertaining nail-biter that continually surprises despite its claustrophobic setting and cast of characters that can be counted on the fingers of one hand. But while it may lure fans of 2008’s astoundingly irritating “found footage” monster mash Cloverfield, did that title really need to be baked into this one, effectively establishing Trachtenberg’s outing as some kind of sequel or prequel? Theoretically, the thrill of 10 Cloverfield Lane lies in our not knowing where its true threat lies. It’s a measure of the film’s success that it works despite a title implying exactly where that threat lies.

GODS OF EGYPT

When the first preview for the mythological-sci-fi-fantasy-action-adventure something-or-other Gods of Egypt landed last fall, it was met with widespread derision due to the overwhelming whiteness of its cast of “Egyptians.” To their credit, film studio Lionsgate and director Alex Proyas quickly issued statements of apology for the movie’s lack of diversity. But now that the ghastly embarrassment in question has been released, I’m hoping for a statement of rebuttal from slighted Egyptian actors everywhere: "Hey, you know what? No apology necessary."

DEADPOOL

Your ability to find the superhero comedy Deadpool funny is dependent on your being a 14-year-old, or more precisely someone who can easily access his or her (most likely his) inner 14-year-old. For director Tim Miller’s new Marvel adventure, I couldn’t quite. But I also can’t deny the obvious pleasure many are getting from this cinematic, deservedly R-rated comic book. And if we must endure future origin stories – and trust me, we do – I’d prefer they all shared this one’s anarchic spirit and happy willingness to trash, within studio-approved reason, the tenets that make so many of them boring as sin.