Why 'Three Billboards' and 'Call Me by Your Name' leave this theater critic cold

Any year that can make room for the biting originality of Jordan Peele’s “Get Out,” the bespoke detailing of Paul Thomas Anderson’s “Phantom Thread,” the invigorating feistiness of Greta Gerwig’s “Lady Bird,” the controlled sensory overload of Christopher Nolan’s “Dunkirk” and the timely conscience of Steven Spielberg’s “The Post” can’t be all bad. These films may have divided audiences, but what beyond basic arithmetic can any of us agree on today? I don’t wish to make inflated claims, but I don’t regret leaving the house for them. They did what I expect movies to do: allow me to lose myself in the dark for a couple hours, entranced by the power of big-screen storytelling.

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