It’s almost as if 3D was made for this.

Kokomo City is a vibrant, original work, shot in black and white, in a kaleidoscopic blend of monologues, conversations, and re-enactments. At a moment when the American right are obsessed with criminalizing health care for transgender people and erasing Black history, it’s also timely.

A thoroughly endearing movie that’s difficult to dislike, Teen-Age Mutant Ninja Turtles: Mutant Mayhem tackles the basic themes of the characters Eastman and Laird originally instilled in their stories, like acceptance, growing up, or just simply wanting to do the right thing.

Credit goes to the Philippou brothers for their originality and perfectly queasily executed bits of ghoulish anarchy.

In the end, The Phoenician Scheme has a warm and beating heart.

The Old Man & The Gun is, on the surface, a low-key, easygoing movie that is funny and charming. But it’s also slightly subversive, nodding to the appeal of the great American anti-hero, a role that Redford played many times in his career.

Ava DuVernay’s beautiful and visually imaginative A Wrinkle In Time is a magical mystery tour for teenage girls. It’s a female empowerment movie that says love triumphs over evil and light trumps darkness. It says that the many teenage girls who believe they’re not good enough can find their strength and beauty, even through their flaws.

Brainy, talkative, full of ideas and questions about contemporary culture and human nature, writer-director Todd Field’s Tár is a character study of a talented, flawed character. It’s also a comment on cancel culture though it could be the other way around: a film about cancel culture wrapped around a complicated character.

What begins as a weird tribute to The Wizard of Oz becomes a genuinely creepy horror. West chooses deliberate methodic movements rather than jump scares to terrify the audience, and the film is all the better for it. And he never lets loose of an underlying sense of humour that is as clever as it is demented.

This is the feature film debut of veteran television director Tom George, and his experience directing comedy shows in the perfect comedy timing here. There are small bits that turn into running jokes through the movie. Then again George was given a lot to work with by screenwriter Mark Chappell, whose tight script uses every genre cliche in the service of clever fun. And this top-notch cast is a joy to watch.

Mulan is distinct enough from its predecessor that it hardly seems like a remake at all.

A masterpiece of squeamishly uneasy, nightmarish mood-making, the demonic-possession film, Sator is partly in the vein of The Blair Witch Project – though much more sure-handed and stylistically sophisticated.

Greek director Christos Nikou makes an impressive feature film debut with Apples, a subtle, offbeat and quietly affecting movie about amnesia, identify and grief.

Films about stalkers and obsession tend toward on-the-nose titles like Crush, Watcher, Creep or, well, Obsession, and Stalker. Lurker is thus, right from the title card, a refreshingly original take on the genre.

IF is a delightful escapist fantasy that reaches deep into the hearts of the audience by invoking childhood memories.

If you’re a fan of the man, William Shatner: You Can Call Me Bill is an easy sell.

Project Hail Mary, the latest cinematic adaptation of an Andy Weir novel, is a crowd-pleaser loaded with humour, charm, and tropes galore. In the best tradition of sci-fi, there’s also a lesson in being the best a human can be, as shown by an alien teacher.

If you’ve ever been a dog owner and you’ve ever been nervous about what’s out there in the shadows, then more than likely, you’ve appreciated the company of a good dog by your side. Good Boy gives you that feeling when you’re watching it, and quite frankly, there were a couple of times when I reached for my own dog to give her a reassuring scratch behind the ears.

Writer-director Genki Kawamura keeps his camera angles tight, the better to maintain tension at a boil, and makes the most of his minimal and repetitive set. Fans of the Canadian horror classic Cube should enjoy.

The focus on Woody means that Toy Story 4 is less of a metaphor about the things we leave behind as we leave childhood, which means emotionally it's the lightest of the series. That may mean fewer hankies for those of us sitting together in the dark falling in love all over again with a box of animated toys. But the sweetness persists.

[Hirokazu Kore-eda's] magic power is building stories from the small moments that feel so familiar and yet add up to movies that are gently, but deeply resonant.

The humour remains, only now there is an added charm missing from previous installments. That charm is courtesy of the movie’s protagonists, a typically atypical family, and their equally quirky neighbours. Including a lovelorn teen boy and an old dude with a shotgun.

By the end, we have the sense of witnessing a blackly funny social encounter, but watched a heroic fable in reverse, in which the clueless Donghwa, instead of a hero-conquering the dragon and saving the princess, has been politely demolished, chewed up and spit back out.

Where New Order broadly surveyed and compartmentalized Mexico’s upper and lower classes, Sundown pretty much rests its entire narrative on one man, wealthy British business owner Neil Bennett — played with few words but (oxymoron alert) riveting impassivity by Tim Roth.

This is an exhilarating action picture. The Killer involves brutal violence leavened with incisive social commentary, all of it put across with great Fincher style. And bloodletting.

Aster packs a lot into the film but never loses control of the material. In his most mainstream work to date, he once again shows his mettle as a serious filmmaker.

It’s Never Over, Jeff Buckley is a reminder of the beauty of what he was looking for, and why his loss still reverberates so many years after his death.

Scott contrives a convincing resemblance to events leading up to the last court-sanctioned duel-to-the-death with a meticulous eye for specifics. He transfers a riveting piece of history into a riveting film—mostly.