If we’re not supposed to pity Dahmer while watching the unfortunate progression of his sad life, why are we watching? Is it to reinforce the notion that he was always a monster? Or is it to forgive Derf (Alex Wolff) and his buds for assisting in his descent? In the end it really doesn’t matter because we don’t buy any of it.

In this landscape, it’s rare to get the kind of unabashed silliness Taika Waititi delivers with Thor: Ragnarok.

Unintentionally timely, A River Below may be read as a Trump-era document, a tale of environmentalists versus local industry.

With this, Cone also continues to be one of the few directors who has chosen to contextualize faith rather than demonize it. He shows greater interest in the places where we are like each other, all while celebrating what makes us different.

One’s enjoyment all depends on what they are expecting to get out of a studio comedy sequel; if you desire something light, occasionally surprising, and ultimately unchallenging, then A Bad Mom’s Christmas is for you.

The New Radical is one of the more illuminating and scary documentaries of recent memory as it takes the time to make rational and disturbing arguments free from commentary.

Adapted by Anita Doron from the award-winning novel by Deborah Ellis, The Breadwinner delivers a heart-wrenching coming-of-age tale within a nation that’s lost its way.

Hamoud’s message concerns having the courage to be who you are no matter what society or heritage demands. Compromise is important in any relationship, but it shouldn’t be one-sided and especially not favor the man simply because the culture is steeped in patriarchal infrastructure.

Occasionally entertaining and cringe-inducing, it’s largely more of the same: a retread of previous Jigsaw/Saw outings that sets the series up for new revenue opportunities without slaying larger dragons.

Bill Nye: Science Guy mixes science and inquiry with an intimate look at the personal trials and tribulations of Nye as he struggles with guilt, seeing his brother and sister suffer from a neurological condition that he’s escaped.

While not breaking any new ground in the genre, American Satan is a stylish psychedelic thrill in the mold of a zany comedy that grows dark, quickly.

While her astonishing career and scientific breakthroughs are rightfully celebrated in Brett Morgen’s documentary Jane, more than being a standard biographical doc, the film serves as a cautionary tale against the perils of male chauvinism.

Unfortunately, the gleefully absurd ingenuity of Geostorm stops at its title.

Something happened here, and the full story of the making of this movie will surely be far more interesting than the movie itself.

Well-acted by lead James Freedson-Jackson, the film takes its subject matter more seriously than it takes its plot. It’s one of those films that captivates in the moment until it all falls apart.

Too often, we’re left with an arguably less-than-great artist (Eli Roth? Mick Garris?) in talking head form, blandly praising Hitchcock’s work. 78/52 is at its best when the shower is running and we’re engaged with the making of this notorious murder scene.

Thoman spins a suspense thriller with all its genre underpinnings around Miranda to take the control she’s always carefully ensured was hers away.

An illuminating film about poverty that one hopes can be a call for action even if the film itself doesn’t directly encourage advocacy, it’s clear that hashtags and temporary fixes aren’t enough to change Ahkeem’s life.

Boseman brings this badass attorney oozing warranted confidence to life opposite Gad’s non-confrontational everyman experiencing the true power of his occupation as a result. And Brown steals the show with an emotional turn able to earn empathy from the most jaded audience member like Spell did Marshall. It’s time new generations learn Thurgood’s name.

The true strength with this blast of a film is that everything is so unexpected.

Blade Runner 2049 marries its ideas to its narrative in a way that blockbusters too often fail to these days. More importantly, it puts these ideas to a poignant end, bringing its characters to tragic or bittersweet reckonings in a manner that would do any of the old sci-fi masters proud.

Kingsman: The Secret Service is a modestly entertaining romp that will probably delight those who like to see a genre turned upside down so all its lunch-money lands on the ground, and purveyors of kinetic and no-holds barred gore will also get a treat.

Many laughs are earned in observing how much money Seal actually made and how much the government played him for a fool. And like many cautionary tales, some of the comedy hurts. Liman and Cruise know this, and the result is something well-crafted, if woefully familiar.

As if taken from Stanton’s own mantra, Lucky is a powerful reminder that life really does amount to nothing (and still, somehow, everything).

When playing into Linklater’s significant strengths as a director of actors, the film is able to entertain and evoke sincere feelings from its audience.

Taken on it’s own merits — or lack thereof – Kingsman: The Golden Circle feels like being trapped in a dorm room, while a bunch of frat bros watch the first Kingsman and tell you it’s the greatest movie ever made.

It can be a grueling experience considering the heavy subject matter, but there’s enough optimism to stave off boredom.

While Hong Kong Trilogy is ultimately an empty and unfocused misfire, it’s still rather watchable in its failure, thanks to Doyle’s remarkable visual approach.