Kambole Campbell

Though it’s packed with remixes of and callbacks to Eve’s history, it’s a dazzling, surprisingly accessible summation of his visual and sonic styles.

The film is admirable for its patient commitment to unpacking the children’s feelings about each other, the building, and other relics from their pasts, all as they learn how to carry their attachments and memories to new places.

It’s a moving ecological parable, and its visuals are an encouraging continuation of the general trend in 3D animation towards graphic textures and away from the restraints of realism, even if it’s something as small as a leaf being represented by an abstract splotch of paint.

It’s a throwback to the exhilarating, ferocious Hong Kong action filmmaking of yore, capping off a muscular actioner that marries old-school bravado with contemporary technique.

Monkey Man is an energetic and thoughtful debut feature that leaves one excited about what Patel’s future as an action star might look like.

Spy X Family: CODE White captures the series’ appeal in microcosm, its stylish action, heartfelt found-family dynamic, and incredibly silly comedy all working in entertaining harmony.

Bubble is tender, even meditative. But its best ideas are sadly swept away amid a wave of half-formed ones.

Some rather rough animation brings down the otherwise exhilarating Blue Giant, which, in its best moments, transforms jazz music into an otherworldly sensory adventure.

In isolation, First Steps is a pretty good time, even if it feels as though it could push its aesthetic into more daring territory.

The latter half of Chevalier is a little by-the-numbers compared to its energetic opening violin duel — though it is uplifted by its sharp critique of white institutions, and a strong performance from Kelvin Harrison Jr.

Kensuke’s Kingdom feels like a throwback – for better and worse. While some of its classical animation is pleasant, the story of a young boy bonding with a former Japanese soldier can feel schmaltzy and obvious.

Though it delivers some entertaining comedy and bloodshed, Candyman is clunky and overly instructive in its metaphorical purpose — killing subtext as often as it does anyone foolish enough to summon the eponymous spirit.

Though it can be predictable and a little simple, The Bad Guys 2 smooths over some of the frustrations of the first — bringing a sharper and (slightly) more mature sense of humour to its compellingly cartoonish animation.

In its search for the personality behind the creator of one of cinema’s most famous comic characters, The Real Charlie Chaplin too often lapses into dreary convention, despite flashes of brilliance in its use of archive footage.

The Instigators isn’t exactly revolutionary, but is a good time regardless: an easygoing crime caper offering an excellent cast a fun sandpit in which to snipe at each other.

There’s slightly more than meets the eye with Transformers One. While the art style is sometimes off-putting, its ideas are interesting enough to make it a decent addition to the franchise.

Another diagnosis of the sickness of an over-armed, money-guzzling police force, Emergency sometimes struggles to combine its cinematic form with its messaging. But there are just enough moments where it all comes together to make it feel like worthwhile viewing.

Despite occa­sion­al­ly indulging its worse instincts, there’s still a sur­pris­ing amount of fun to be had with M3GAN 2.0 – a big­ger and fun­nier sequel which could stand to pull back on both of those elements.

Mamoru Hosoda’s continuing experiments with animation are passable enough. But it’s not enough to uplift this loose adaptation of a literary classic with its rather clumsy thesis on cycles of violence. 

Benicio Del Toro’s solid screen charisma can’t rescue Reptile, a derivative and lethargic thriller that rarely thrills as it tries and fails to build a case for itself as a meaningful iteration on the detective thrillers that it admires.

Despite a valiant effort from Justice Smith, the satire in The American Society of Magical Negroes feels aimless, scattered across a story that struggles to pick a meaningful direction.