Insidious: The Last Key isn’t the worst but it also clearly isn’t the best, either. It just sort of rests tenuously in some sort of bland, easily digestible horror middle ground, and as such there’s little reason to hate the film even if I can’t exactly sing its praises.

In regards to 2017, there was undeniably plenty to love. From the sight of Diana of Themyscira making the decision to walk into the middle of No Man’s Land alone in Wonder Woman, to four best friends rediscovering their bonds of familial sisterhood in Girls Trip, to a father sitting quietly with his despondent teenage son speaking to him with a level of empathetic understanding that helps ease the pain in Call Me by Your Name, to a little girl facing down a gigantic figure dressed in black riding a gigantic stallion in the middle of an isolated corn field in American Fable, the volume of memorable moments is simply off the charts.

It’s hard to imagine I won’t be treasuring Baker’s The Florida Project for decades to come.

Here are 20 more titles I feel would be right at home on anyone’s 2017 Top Ten list.

I’m honestly not in the mood to do a list of the worst films I saw last year. Instead, I thought I’d do something a little different and highlight ten films I felt were 2017’s most disappointing. Obviously, most of these are pretty bad. They’re just not Transformers: The Last Knight or Diary of a Wimpy Kid: The Long Haul bad, not that this is much in the way of a compliment.

As in previous years, I slowly tracked everything I watched in 2017, compiling a massive master list of my favorite films, placing them in some rough order of preference as I went along.

Add in the obvious parallels to our current fight to keep a free, unfettered press that’s under assault by a corrupt political machine unlike any the First Amendment has ever faced before, the importance of the messages at the heart of The Post couldn’t be more imperative. Spielberg’s latest might not be his best, but it may be his most essential, those from all corners of the ideological spectrum urged to watch it with an open mind and a clear heart at their earliest opportunity.

Featuring a performance from Williams that is as beautifully nuanced and overflowing in naturalistic intensity as any she’s previously given, Scott’s All the Money in the World is an absorbing procedural that is marinated in uncomfortably authentic tension, events building to an explosive conclusion that left me happily gobsmacked.

If Molly’s Game doesn’t quite have what would typically be considered a winning hand, it bluffs just well enough to still take the pot, proving that a pleasant smirk and a little underhanded double-dealing isn’t always as terrible a thing as it should be. Heck, sometimes it might even be construed as charming.