Wolves shoots way too many air balls, its inability to find the basket making this dramatic teenage hoop dream nothing short of an emotionally deflated basketball nightmare.

While Gunn and McLean don’t rewrite the company handbook, they still do a good enough job bullet pointing the important stuff to make reading it worthwhile, The Belko Experiment a corporate retreat of butchery and slaughter that takes team building to a heretofore unexplored level of a skull-crushing commitment.

This is a rich, aggressively dynamic piece of horror cinema, one that goes way beyond genre to a point bordering on magnificence, The Devil’s Candy a terrifying heavy metal treat worth savoring.

As haunting and as scary as all of this might turn out to be Personal Shopper is not a horror movie. This is a human drama, plain and simple, one that deconstructs the grief process in ways that have seldom been seen or attempted before. Assayas channels energies that are explosively one-of-a-kind, the languidly methodical nature of the pacing belying the rich emotional density that makes up every step of Maureen’s sojourn to self-actualization and personal growth.

Beauty and the Beast never takes on a life of its own, it’s pulse stranded at middling for almost the entirety of its obscene 129-minute running time, all of which makes the watching of it far more of a frustrating chore than it by any and all rights should have been.

The whole thing feels as if it is stuck in second gear for the majority of the running time, the sheer avalanche of derivative content destroying all the stuff I was impressed with and liked in its belligerently unsympathetic rampage down the cinematic horror hill. The Axe Murders of Villisca never comes alive, and as such no matter how much potential as a filmmaker I think Valenzuela might possess, watching this film proves to be nothing more than a serious waste of time.

As ludicrous and as unfocused as it all might be, Kong: Skull Island kept me amused for practically every second of its two-hour running time. While not a great movie, it’s still an awfully fun one, and as big budget, visually resplendent monster mashes go I’m somewhat eager to give it another look relatively soon.

The emotional complexity of her work is stellar, and the way she travels through so many varying dramatic layers as she traverses through the narrative is even more so. Deutch is incredible, and even when Before I Fall comes perilously close to flying off the rails she continually keeps things watchable practically all by herself.

Peele’s ability to entertain and to edify, to produce laughter in the same instance that he slams his satirical points home with an unexpected sledgehammer, it’s all here and more. Get Out is a marvel of ingenuity and inspiration, a horror tale where the most frightening image is the mirror image of the audience realizing they’re the ones being so intimately examined.