Lurker is an eerie and chilling thriller that keeps its viewer stuck in an endless feedback loop of disconcerting behavior that’s only becoming more common.

If this film is anything, it’s a profoundly curious look at why we often shy away from what we feel are weaknesses. It also brushes up against this same penchant for uneasiness in the face of death with a lot of heart and honesty.

Director Maria Friedman has brought her landmark Broadway revival of Stephen Sondheim's most notorious flop to the screen that, in several key ways, actually improves on her heralded staging. The much-awarded performances of Radcliffe, Groff and Mendez shine even brighter on the big screen.

Even with a transfixing subject at its center, The Man Who Saves the World? struggles with its structure.

Making dumb seem clever, and clever seem silly, Matt Johnson and company take their mockumentary shtick to new and dizzying heights, literally.

While it’s impossible not to be moved by Holding Liat, Kramer also challenges his audience to consider the situation in Gaza carefully and really question what is best for the region going forward.

Ultimately, the piece collapses under the weight of del Toro’s vision, a muddled collage of tones that consistently underwhelms. It’s a beautiful collage that amounts to a surprisingly arduous execution.

The Blue Trail, despite its many narrative flaws, stands out for a striking visual style and ability to ask uncomfortable questions about aging and autonomy.

Overall, Obsession turns the volume up on impassioned romances with some incredibly committed performances from stars Johnston and Navarrette, and the wild scenarios they have to navigate. This is a film that demands to be seen with an audience to experience some high-energy creeps, chills, and thrills.

KPop Demon Hunters slays as a mystical, action-packed musical full of surprises, and it deserves to be played in theaters.

Ultimately, what you see is exactly what you get with Poetic License – an average American comedy that unremarkably plays it safe.

Ultimately, Mile End Kicks is a messy, heartfelt portrait of youth and creative ambition.

Koji Fukada’s lovely film offers up unobtrusive but valuable lessons on the importance of accepting one’s reality while not shying away from reaching for what’s desired.

A near-perfect crowd-pleaser. Thanks to clear, confident direction from Phil Lord & Chris Miller, this soaring adaptation is bursting with creativity. Impressively crafted across the board. Ryan Gosling’s flawless turn is both hilarious and heartbreaking. Both an epic journey to save humanity and an intimate story of friendship.

Rare are comedies this funny and this mature. Its rich themes hit home, especially for anyone in a long-term relationship.

Crime simply hasn’t felt this hot, or this exciting, in quite some time.

Father Mother Sister Brother is a cinematic series of variations on a theme, proving to be a gentle yet humorous look at how we interact with the people we have no choice but to know and, hopefully, love.

Wasteman might be one of the bigger surprises this year at the Toronto International Film Festival and certainly one to keep your eyes on.

In the end, Boys Go to Jupiter may not fully stick the landing, but it’s a bold, vibrant, and unmistakably personal work of animated cinema. It won’t be for everyone, but like any great piece of outsider art, it doesn’t try to be. Glander has created something strange and resonant, a lo-fi lullaby for the anxious and overworked who just want to be a kid again.

While well-made, The Currents lacks the spark of originality that could make it truly outstanding

The subjects here are soulful in their recollections and captivating as they hold court. Even with missed opportunities for an even deeper understanding, what is present is still a worthwhile discovery.

While it may be indebted to more modern storytelling methods than his previous features, Hokum still possesses enough of McCarthy’s dark magic that it will hold you in a vice grip all the way through. Considering how played-out many horror films feel nowadays, McCarthy’s mastery at scaring the audience is cause for celebration.

The subdued, naturalistic, and sometimes playful approach to the subject is a welcome departure from more conventional family dramas about separation.

With stellar stylization and a soundtrack full of female-driven punk rock, it hilariously skewers the blatant sexism in the chess world while dramatizing gripping matches. A crowd-pleasing documentary.

Influencers loosely explores its ideas through a slew of new approaches, which don’t always pay off. This sequel does feel like a much bigger film, both in terms of scope and presentation. But while sustaining the tone and style of the original, these expansions of ideas work to varying degrees. Yet the hiccups present in such thematic explorations never feel like misfires as much as they feel a bit undercooked.

Stiller and Meara: Nothing is Lost stands not only as Ben Stiller’s best film directorial work in years but also as a very personal keepsake for him and his family. With admiration, respect and honesty, this carefully crafted cinematic family album ensures his parents’ brilliance and love will never fade.

Raimi’s efforts as director do a lot to bring out a campy tone amid the violence, which makes for an engaging ride. The commitment from McAdams and O’Brien goes a long way toward elevating their characters, and watching their changing dynamic unfold is intriguing. Yet these elements are fighting against a script that weighs down the other inventive aspects of the performances and filmmaking. The narrative is too broad and can’t sustain itself over this runtime.

The film deliberately avoids sweeping statements and proclamations, instead choosing to smartly focus on one ordinary person, brought to life by one of our most extraordinary performers.