Unsettlingly intimate, and nearly bursting with dread, My Friend Dahmer is an intriguing biopic about the early life of one of America’s most notorious serial killers, with an extraordinary and breakout per-formance by Ross Lynch at its center.

Takashi Miike’s blood-splattered and emotionally ripping Blade of the Immortal is a terrific samurai thriller.

The Bad Moms sequel suffers from an uneven script and the addition of too many new, superfluous characters.

In its best moments, Suburbicon is the dark, truly funny examination of 1950s suburbia it wants to be. These moments, however, are all too rare and more often than not the story is just a flat Film Noir tale purporting to expose the evil that lurks all around us.

Three Billboards Outside Ebbing, Missouri is Martin McDonagh’s most emotional and profound film to date.

Jigsaw barely feels like a part of the Saw franchise. It has deathtraps, but takes no pleasure in presenting them. It ignores most of the ongoing storyline. If it wasn’t part of the official franchise it would play like a knockoff.

Jungle eventually leads to an exciting survival story with an intense performance by Daniel Radcliffe and suspenseful scenes that might make you squirm. But it might not be worth the journey it takes to get there.

Geostorm is as dumb as you think, but more fun than you might expect.

Amityville: The Awakening has a good cast, and, if viewed by a group of rowdy friends late at night, may certainly do its due diligence in periodically startling you for 87 minutes, but never manages to transcend its genre in any meaningful way.

Noah Baumbach succeeds in The Meyerowitz Stories (New and Selected) in fine fashion, delicately balancing serious issues with lighthearted moments – it is a movie that is equally adept at making the audience cry as it is with making them laugh.

The film's brilliant pacing and expertly woven narrative deliver an empowering story that will stick with you long after the credits roll.

Tokyo Ghoul’s live-action movie gets the basics of the series right but is ultimately a shallow version of its source material.

Wonderstruck is another emotional and visually gorgeous outing from director Todd Haynes.

Director Yorgos Lanthimos lures us into his dream and shackles us there, for his own fascinating reasons. The experience is exquisite agony, both revelatory and painful. This is one of the best and most disturbing movies of the year.

Funny, gut-churning, playful, wicked, and warm, Tragedy Girls is one of the better horror-comedies in recent memory.

A decently made but unsurprising thriller.

Wheelman has a few great action sequences and one interesting idea, but is let down by a mediocre screenplay.

The Snowman is a detective vs. serial killer thriller devoid of any thrills.

A goofy, kitschy- but- fun romp and the most purely entertaining of the three Thor movies, marked by its distinctive designs, ‘80s synth score, and assemblage of spirited characters. It’s carried by the excellent chemistry between Thor, Hulk, and Valkyrie, who give humanity to a visual effects-heavy spectacle that finally makes good on Thor’s title of God of Thunder.

The Babysitter had potential but director McG treats this material like it’s one of the lamer American Pie sequels. The broadness of the humor detracts from the characters and the story and the horror, instead of complementing them.

It’s a straightforward celebration of these heroes’ lives, with a few meaningful revelations along the way, but nothing that will completely blow your mind. These are interesting, likable people who led interesting, exciting lives.

Goodbye Christopher Robin is a good example of how far a film can go with just the talents of its actors and director, even when the script can feel jarring or emotionally uneven.

My Little Pony: The Movie falls apart in the end because it resolves its conflict the way that conventional blockbusters do, and not in the way that My Little Pony does.

Directed by the team of Mark Neveldine and Brian Taylor, the new film brings all the cartoonish insanity of the pair's Crank saga to the -- let's face it -- cartoonishly insane concept of the Ghost Rider, a burning skeleton in leather who rides an equally fiery motorcycle. It's a match made in, er, hell.

Leatherface is the worst Texas Chainsaw Massacre movie ever.

Kingsman: The Secret Service is a spy movie made by James Bond devotees who know the genre so well that they can have a good time with it while also paying it respect -- and taking it to someplace new entirely.

Flatliners had every opportunity to improve on the original, and it doesn’t take most of them. It falls flat as a horror movie but the cast is good enough, and the sci-fi concepts are interesting enough, to keep it from crashing completely.

It organically expands and grows what came before. It’s a deep, rich, smart film that’s visually awesome and full of great sci-fi concepts, and one that was well worth the 35-year wait.