Domestic box office may be comparatively down and aging franchises (and franchise stars) may be showing their whiskers, but if 2017’s movie summer is remembered for anything else, it may be for its habit of turning showcase action sequences into retro music videos.

When, exactly, did romantic comedies become extinct? I’m not even talking about “classic” rom-coms such as When Harry Met Sally... or Sleepless in Seattle, or that exceptional Julia Louis-Dreyfus/James Gandolfini charmer Enough Said from 2013 (the most recent example of a truly topnotch one I can think of). I’m talking about the genre as a regular staple of moviegoing, with headliners such as Sandra Bullock and Jennifer Lopez and, God help us, Katherine Heigl falling for lesser stars in vehicles that were once as abundant as Blumhouse horror flicks or crap reboots of ’80s TV shows. For anyone missing such offerings, I would direct you to director Michael Showalter’s The Big Sick, which just might stand as the most hysterical, moving, swoon-worthy rom-com of the millennium. For anyone not missing such offerings, I’d direct you to The Big Sick even more quickly, just so you can see what this genre is capable of when everything – and I mean everything – goes magically right.

The opening shot of writer/director Sofia Coppola’s meticulously sumptuous The Beguiled shows a young girl carrying a basket and singing without a care in the world – her steps providing the tune’s rhythm – in a tunnel of trees. It’s sunny out, but the converging crowns mean she’s walking in the dark wood. When she happens upon an injured Union soldier (Colin Farrell) while picking mushrooms, it’s impossible to avoid a single thought: Big Bad Wolf.

The girl helps the man back to her secluded Virginia boarding school for girls – which just happens to have seven female residents. They’re not dwarves, but Corporal John McBurney (once his wounded leg is mostly healed) does help with some groundskeeping. So he’s also Snow White.

It can’t be easy directing solely with your middle finger, but somehow Bay has pulled it off; in one fell swoop here, he’s turned his humans into robots, his robots into pests, and his worldwide audiences into saps whose goodwill, patience, and money he appears all too willing to waste.