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“Trumbo” put a serious face on the plight of Communists working in 1950s Hollywood. Opening Friday, Joel and Ethan Coen’s “Hail, Caesar!” paints that face with clown makeup and makes it do a spit take.

Chris Pine and his ragtag Coast Guard crew overcome horrendous luck, freezing temperatures, hurricane-force winds and waves so powerful they’ve broken two 500-foot oil tankers in half.

It’s a moving, troubling look at one man’s existential crisis, the powerful grip of loneliness and the mundanity and despair of everyday life. But “Anomalisa” probably will be remembered, at least by the few of you who’ll see it, for one thing: puppet sex.

It may seem hard to believe, given the months of hype and speculation, that record-shattering opening and the merchandise — so very much merchandise — but movies other than “Star Wars: The Force Awakens” opened in 2015.

Fans of Quentin Tarantino know that if there’s one thing the writer-director loves — even more than bloody violence, music from the 1970s and women’s feet — it’s the sound of his own words.

When it was announced that David O. Russell’s next movie would tell the story of Miracle Mop inventor Joy Mangano, I couldn’t wait to see how the filmmaker responsible for such recent delights as “Silver Linings Playbook” and “American Hustle” could turn that into a compelling movie.

If 2015 has produced a more satisfying pop-culture moment than seeing Han Solo (Harrison Ford) and Chewbacca (Peter Mayhew) reunited with their beloved Millennium Falcon, accompanied by a bit of John Williams’ iconic score, I don’t want to know about it.

In the days before Wikipedia, many a student assigned to read “Moby-Dick” did so via CliffsNotes, those truncated little study guides that summarize a novel’s plot and themes at the expense of a real understanding of the text.

In a year of reboots ranging from entertaining (“Mad Max: Fury Road,” “Jurassic World”) to dreadful (“Vacation,” “Terminator Genisys”), “Creed” may be the most surprising one yet.