Kim Hughes

It is at times a terrifically uncomfortable movie to watch. But director Michel Franco's New Order, a searing and relentlessly grim indictment of class division and government corruption, scans not only as possible but entirely likely given our current world. Heavy doesn’t begin to describe it.

People will either love Moby Doc or hate it, but absolutely no one will exit with a shrug. I’d call that an achievement.

For viewers of this doc, Strike A Pose, though perhaps overly long and repetitive, is a touching reminder that we all occupy the same world and are vulnerable to its pitfalls… even those lucky (or unlucky) enough to have briefly dwelled in the shadow of the almighty Madonna.

The starkly lit and shot film is a gently paced family drama about a collapsing marriage which, come to think of it, merits its horror-story veneer even if it is something of a red herring.

Visually drab, tonally flat, and with precious few sympathetic or relatable characters, Brothers by Blood reduces the high-minded concept of filial loyalty across multiple generations to a paint-by-numbers power play.

Sure, we’ve seen variations on this story and theme before but few better.

For everything Senior Moment gets right, there seems to be an equal and corresponding wrong which mars the film and the efforts of its clearly committed cast under the helm of action director Giorgio Serafini.

As a valentine to influential 80s alt-rockers The Smiths, Shoplifters of the World is unbeatable, propelled by original Smiths music along with archival footage of band interviews and performances, vintage posters, magazine covers, album sleeves and just about every other bit of era-specific ephemera you can name.

It’s not for lack of trying as Crisis has a terrific ensemble cast doing terrific work. But the film never sparks or soars.

But what lands with Land is underwhelming; not quite a disappointment but considerably less than what was hoped for given Wright’s professional toolkit and the endless possibilities a subject as complex as profound grief offers.

Beautifully shot and terribly sad, with a wildly twitchy score ratcheting up the tension, the Mexican drama Identifying Features is a profound statement about maternal love, brutal inequality, and institutional corruption.

Its warm-heartedness, positivity, and consistently striking visuals are a pleasant counter to ugly January days and nights, and a reminder that a compelling story well told is… wait for it… a can’t-miss recipe for success.

The new documentary Billie is for music nerds what hieroglyphics on a cave wall are for anthropologists: not so much a revelation as clear confirmation of a more nuanced life than previously known. It also has one heck of a back story.

Strong performances abound while sly and sometimes slapstick comedy lightens the more intense themes of betrayal and vengeance.

Wharton’s film benefits from exceptional timing, which may not be accidental. Carter’s diplomacy and decency, his easy smile and comparatively youthful veneer contrast dramatically with the current American president and his secretive, self-aggrandizing, circled-wagons administration.

Approached with a casual regard for logic, period thriller The Secrets We Keep is entertaining enough to recommend though it never feels quite as original or shocking as the filmmakers — working with a plainly Hitchcockian roadmap — likely hoped for.

A little distance — and considerable trimming — would have served the story better.

Even I found the film’s 90-minute running time draining, its story needlessly, maddeningly convoluted. I also lamented missed opportunities for in-jokes, sly sub-references, even guerilla fourth-wall demolition hijinks.

A strong ensemble cast ably supports Jacobs as she navigates palpable feelings of inadequacy and misguided affection.

Spinster adds up to more than the sum of its parts, even if its primary takeaway — a woman doesn’t need a man to be happy and/or successful, yada yada — is hardly ground-breaking.

An interesting if rote, talking head–style film about a woman for whom fame was a constant battle but whose shadow stretched longer than her slight frame, a point highlighted often (if not always convincingly) throughout Suzi Q.

Let’s get this out of the way right up front: Force of Nature is fairly terrible albeit in some interesting ways that won’t change the way you think about film but will make a Monday night couch-sit more entertaining, if only to discuss the WTF elements while washing out the popcorn bowl.

With its first half a kind of post-mortem of this so-called accidental masterpiece and the second devoted to its cultural influence on everyone from drag queens to film scholars, You Don’t Nomi — its title a snappy riff on lead character Elizabeth Berkley’s name — is impressive for its breadth and depth.

Semi-comic tales don’t come blacker or more twisted than writer/director Mirrah Foulkes’ quietly electrifying Judy & Punch, which might be subtitled “When Scumbags Get Bigtime Comeuppance.”

A bittersweet dramedy about an exceedingly fraught mother/daughter relationship and the ties that nevertheless bind, Tammy’s Always Dying is buoyed by a superb cast and a palpably stark setting (mostly Hamilton, Ontario with forays into Toronto) that combine to elevate the film above its more predictable aspects.

It would be swell if there was a way of describing Bloodshot that unscrambled its plot while making it sound staggeringly cool but… well, we can’t all be superheroes. Neat effects though, which maybe are the most important thing in a sci-fi actioner?

It means well, but Greed fails to locate the heart of the fast-fashion calamity, instead spotlighting the grotesqueness of the one percent at the expense of everyone else.

As much a showcase for Kristen Stewart and the fabulous frocks of the 1960s as a glimpse at a very low moment in U.S. governmental history, Seberg is an entertaining if simplistic drama that would have benefited from more grit and less gloss.