Wind River is a decent, if flawed, directorial effort from Sheridan that showcases his strength as an actors' director, more than as a writer.
Annabelle: Creation makes for a solid Conjuring prequel, with scares and thrills that make up for any noticeable shortcomings in the script.
Detroit makes for a disturbing and unnerving portrayal of real historical events, but has less success as a work of sociopolitical commentary.
The Dark Tower is a mixed bag of abridged mythology from King's book series, fun performances from Elba and McConaughey, and uninspired action.
The Emoji Movie squanders the talents of its capable voice cast on an animated film that is as cynical in its outlook as it was in its conception.
Atomic Blonde is a stylish, yet uneven, thriller, punctuated by a strong performance by Theron and thrilling action set pieces.
Luc Besson's Valerian is a visually stunning, if overlong, sci-fi romp that's weighed down by an uncharming dynamic between its two leads.
Dunkirk makes for Christopher Nolan's most intense and nerve-wracking thriller yet, delivering a strikingly terse viewing experience in the process.
Rich in emotional honesty and equal parts funny/moving, The Big Sick successfully infuses the traditional rom-com formula with a modern sensibility.
War for the Planet of the Apes is as satisfying a conclusion to Caesar's journey as it is a compelling standalone, big-budget blockbuster experience.
Spider-Man: Homecoming works as both a (very) funny high school comedy/drama and strong standalone superhero movie set in the MCU.
The House is a solid, if unremarkable, big studio comedy with fleeting moments of humor peppered throughout its runtime.
Despicable Me 3 offers enough in the way of zany, irreverent entertainment (with a dose of heart) to please steadfast fans of the franchise.
Baby Driver is an exhilarating and tense thrill ride that's infectious with its high-octane energy, sheer creativity, and strong performances.
Though an only decent adaptation, The Beguiled is deftly directed by Sofia Coppola, giving room for the cast to shine in their performances.
Transformers: The Last Knight has a deeper mythos and bigger spectacle than its predecessors, yet still ends up being mostly hollow and cacophonous.
47 Meters Down is a decent, yet unremarkable, survival thriller that's little more than disposable summer entertainment.
The Book of Henry awkwardly mashes together compelling individual elements, giving rise to a jarring and otherwise confounding viewing experience.
Rough Night offers an entertaining genderswap on the bromantic comedy, which especially works thanks to its Broad City brand of humor.