Meet Me in St. Louis doesn't quite live up to its excellent first half, and it has a somewhat frustratingly saccharine ending, but when this is good it's good. There are two sequences in particular that are absolutely astonishing. There is the strange Halloween tangent where the film switches focus to the brilliant Tootie (played so well by the young Margaret O'Brien). This whole sequence is gorgeously shot and hysterically funny. It's such a bold and fascinating sidestep. Even better…

It's hard to believe that this Ross Lynch is the same Ross Lynch who so brilliantly captures Dahmer's hunched, blank-faced, drunken aura. Lynch spends most of the film expressionless yet he conveys so much through so little. The smallest smile. An awkwardly delivered line. He's perfect. His Dahmer is as sympathetic as he is terrifying. The film outside of Lynch is also solid and subtle (it helps that the source material—Backderf's fantastic graphic novel—is excellent). This is not a gruesome…

The Boxer's Omen is pure madness on celluloid! I can't thank Chris Purdie enough for recommending this to me. This is everything I could ever want in a film. Here is a paragraph of some things you'll see in The Boxer's Omen because my brain can't construct proper sentences at the moment...

Violent kickboxing. Bolo Yeung's disproportioned body. Buddhist monks fighting demons. Spiders (that make the spiders from The Beyond look awesome) drinking liquid poison from tiny straws. Conversations with…