The Snowman Killer is one of those ludicrous movie bad guys who is both supernaturally smart and conveniently stupid.

This movie is so colorful and zippy and packed with outlandish supporting characters, that Hemsworth’s job is relatively easy. He just needs to look great, kick ass, nail the one-liners, and ride off into the sunset (or Avengers: Infinity War, whichever comes first). Thor: Ragnarok is sort of like a giant flatscreen TV hanging on a wall with an enormous hole in the middle of it. The TV is beautiful, but it doesn’t fix the hole. It just covers it up.

Dysfunctional relationships and bickering families are nothing new, but the raw emotion here elevates The Meyerowitz Stories above Baumbach’s previous work. It may slight some of its more compelling character relationships, but it’s still a bittersweet delight.

Firth might appear like an odd choice for an action hero, but he makes a surprisingly convincing one in the Roger Moore mold, the sort of unflappable British gentlemen who can kick your ass without wrinkling his suit. He’s a great straight man for Jackson and some of the movie’s sillier elements as well; Firth has this unshakeable dignity and poise that even the most vulgar moments in Kingsman can’t puncture.

Ford’s memorable performance is just one of the many ways Blade Runner 2049 surpasses the original film. Its clever and compelling storyline is another. And then of course there are Deakins’ incredible images.

It isn’t the charged biopic that a story as fascinating as Seal’s deserves, but it has enough rambunctious delights to get by.

You can see very clearly where The Killing of a Sacred Deer is headed, but it takes a protracted path to get there, prolonging our discomfort until the very act of watching the film feels like its own bleakly comedic exercise.

In Thelma, Trier tries his hand at making a straight-up genre film — a love story between two women cloaked in a supernatural thriller. Perhaps unsurprisingly, Trier’s knack for nuance and graceful storytelling marries beautifully to a tender drama about self-discovery spiked with psychokinesis.

Let’s face it: The LEGO Movies were always better than they had any right to be. At their core, even with their clever writing, colorful visuals, and memorable voice casts, they were still feature-length toy commercials. The LEGO Ninjago Movie is just the first installment in the series that actually feels like one.

This isn’t quite solid-gold filmmaking. But it might be gold-plated.

In a way, though, Robinson’s less-edgy aesthetic is even more subversive than graphic sexuality. By treating the Marstons’ lovemaking the same way arthouse movies have treated heterosexual couples for decades, she refuses to portray them as aberrant or abnormal.

The screenplay, written by director Peter Landesman and based on books by Felt and John D. O’Connor, does a fine job of condensing a sprawling conspiracy into a digestible feature, although it sometimes favors clarity over nuance and winds up enunciating important plot points in glaringly unnatural dialogue.

It’s a heartbreaking love story about loneliness and the transcendent power of language, and it’s simply magical.

Downsizing is all half-empty, big ideas that accomplish very little.

Franco’s performance as Tommy Wiseau is a thing of beauty. Without ever inflating Tommy’s achievements or his talents, and while still having a great deal of fun with his peculiar behavior, he makes him into what he always wanted to be: A true cinematic hero.

It is a movie about how anger consumes and destroys, and how the only cure for that anger is empathy, something that’s in short supply these days but Three Billboards has in abundance.

Love it, hate it, or stuck somewhere in between, it’s something you simply need to see to believe.

With little drama or humor, it mostly amounts to watching a guy complain about his fairly decent life for 100 minutes.

The movie cuts back and forth between the two, and their themes speak to one another in some ways, but the competing narratives barely intersect. At times, it seems as if director and co-writer George Clooney made a movie where separate but equal is not only the subtext but also the organizing principle.

The Florida Project immerses us in more stories that too often get excluded from movies. It finds magic in the mundane, and reminds audiences how to look at the world through fresh, untainted eyes.

IT is better than The Dark Tower in every conceivable way. And beyond the inevitable comparison, it’s just really good. Scary good, even. The new IT is narratively coherent, mythologically complex, and above all, fun. Yes, fun.

The film never figures out how to merge Jeannette’s younger and older perspectives into one cohesive voice.

Good Time is a uniquely exhilarating experience with a sharp, unflinching style and a magnetic performance from Robert Pattinson.

The Hitman’s Bodyguard is not the best movie of the summer, but it is easily its most pleasant surprise. An unapologetically violent and vulgar buddy action comedy, it updates the template set forth by Lethal Weapon and particularly Midnight Run for a new era.

Detroit suffers from muddled intentions and a lack of a clear why. It could have maintained a narrower focus on the lives of the black folks affected by the motel incident. Instead, Detroit tries to accomplish too much too cautiously.

There's certainly a thrill to watching a single woman lead a movie where she's chasing down criminals like an unstoppable killing machine. Is Kidnap inane? Totally. But fun? You bet.

Even when the movie around him is total garbage nonsense, it is fun to watch Idris Elba; the way he walks, the way he stares at people with eyes blazing with intensity. He is an ideal action hero. He looks like the coolest man who ever lived in his fantasy Western garb, and he moves with a rare combination of grace and force, like the greatest possible combination of Gene Kelly and Chow Yun-Fat. He makes an amazing Gunslinger. Sadly, he’s trapped in a not-very-good Gunslinger movie.

There are plenty of words that can describe The Emoji Movie. Here are a few of them: Unfunny. Saccharine. Nonsensical. Painful. And, of course, crappy. (If you prefer the poop emoji, that works too.)