Hacksaw Ridge is Mel Gibson’s (Apocalypto) return to the director’s chair for the first time in a decade, the Oscar-winner for Braveheart making his way back onto the battlefield to showcase a story of courage, combat and faith that’s unlike few other WWII stories.

The Handmaiden is a glorious achievement, one filled with a number of unparalleled delights that only get richer and more meaningful the longer I think about them. Truth becomes fiction, fiction becomes truth, the seductive grey areas in-between an orgy of carnivorous beguilements that lead both to Heaven and to Hell in equal measure, Chan-wook delivering a marvel of storytelling sleight of hand worthy of euphoric admiration.

Moonlight is a masterpiece.

None of it is enough to make me ever want to give Trolls another chance, of course, the film so obnoxiously unappetizing the thought of sitting through it again makes my skin crawl. I didn’t like it, not at all, and while I’m certain there are kids out there who will undoubtedly feel differently don’t expect me to sing a different tune on the matter anytime soon.

There’s a heck of a lot to like about writer/director Stephen Dunn’s feature-length narrative debut Closet Monster. It’s an intriguing film, one that has more to say about sexuality and gender than it initially appears, things revolving around a main character who exhibits a ton of genre stereotypes only to burst free of most of them as the story rolls along to its conclusion.

Inferno might not be terrible, but that’s not saying much. Here’s hoping all involved are done making these Dan Brown adaptations, because I seriously doubt I have the desire or the energy to try and sit through another one anytime soon.

A breathless entertainment, as simple and as straightforward as it is austere and ephemeral, Certain Women is a tale of life, of how that life is lived and of the connections that are made as one travels down its mysterious road.

Based on the 18th book in Childs’ seemingly never-ending series revolving around the character, Jack Reacher: Never Go Back has much to admire. Sadly, it has maybe even more to be disappointed with, the film living up to its title for all the wrong reasons.

There is no single decent reason to spend good money to see Keeping Up with the Joneses at the multiplex. In fact, I’m not even sure there’s one to warrant spending money on a rental when it ends up on VOD or at the local Red Box, and I sure as heck don’t think anyone should pick up the Blu-ray when it’s in the bargain bin at the neighborhood Wal-Mart.