If you’re not at all familiar with the originals, but you know and/or love Back to the Future, that should be enough to guarantee you a good time at this almost-lawsuit-worthy homage/parody to the 1980s time travel classic. And if perchance you already love both Nirvanna and BTTF, then strap in, because when this movie hits 88 kilometres an hour…

In the end the joy of the movie is in watching these four very different characters interact.

The script by Richard Kaplow, who wrote Linklater’s 2008 film Me and Orson Welles, feels as though it were adapted from an off-Broadway play, with the action mostly in one location over the course of one night, March 31, 1943, the opening night of the Rodgers and Hammerstein musical, Oklahoma!

Sugar Daddy impresses as an idiosyncratic film with a forceful visual style and sound design, attached to a familiar story about the ways of bad men and a young woman getting lost in the fast life.

I’m Your Man is certainly a metaphor for our increasingly intimate relationship with our own technology. Some have seen it as a direct reference to our intimacy with personae on social media, virtual relationships that exist at the expense of our connections with people in the real world. Whatever it is supposed to be, it is a smart and often witty take on a not exactly new sci-fi premise.

At just under two-and-a-half hours and spanning three decades, The Eight Mountains feels thorough, as well as sensitively acted and moving. Its weakness is a tendency toward grandiosity, treating an anecdotal drama as though it were an epic.

In essence, a 90-minute commercial for the festival, inviting audiences to come down to “the most kickass party in the world’ and “the world’s greatest backyard barbecue.”

In the end, del Toro has created an impressive piece of entertainment that manages to retain the existential thoughts that inspired Frankenstein in the first place. Ultimately, it’s one of his best films.

It’s a roiling mix of wry race comedy, economy-grade dystopian sci-fi, and Silicon Valley satire. Also, it's as funny and as caustic as hell.

It’s impossible to overstate the immersive feel and psychological sway of 1917; Mendes inhabits those god-forsaken trenches in ways that are palpable, bringing the stink, filth, claustrophobia, and gallows humour to bear with stunning resonance.

The film is an indictment of law enforcement as it operates (or doesn’t) for aboriginal people.

Writer-director Coralie Fargeat’s comedy is an inspired send-up of the contemporary emphasis on youth and beauty.

The Starling Girl is a film that highlights remarkable performances in a story that travels down familiar territory.

Anyone expecting a crowd-pleasing crossover movie from the French director of modern art-house landmarks like Beau Travail and 35 Shots of Rum may be ill-prepared for this perplexing, repellent/fascinating vision of bodies in tight spaces.

Eggers is honouring the legacy of the original Nosferatu, and he gives us a worthy film. But one wishes that he’d gone father in his own direction. A little bit more of his focused madness would have been welcome.

If Logan’s Run and The African Queen had a baby, it might look something like Brazilian dystopian sci-fi drama The Blue Trail. If that’s too much of a narrative stretch, then imagine a close cousin to 2024’s Can I Get a Witness? Except, sadly, not nearly as good.

The topical issue of gender indeterminacy is examined, not through the lens of moralizing or academic theory, but from one person’s vulnerable experience.

The Personal History of David Copperfield is a comedy that washes over you with its warmth. Iannucci’s fans should be prepared to encounter the director in an unusual and infestious good mood.

Reservations aside, Clemency has moments of shivering gravity. Almost all of them involve complex emotions registered in Woodard’s extraordinary face, her dignified resistance to a turmoil of emotions within her, and her agonized need for forgiveness.

Bolan's film is essentially a home movie, that fantails into a larger cultural narrative of post-war North American culture. Shot on video between 2013 and 2018, mostly in intimate indoor settings, the film begins as fly-on-the-wall style cinema verite.

Nope is an eccentric vehicle for some of Peele’s favourite themes – the movie business, Black social history, and character-over-plot.

The interesting thing about the remarkably intense, violent police-procedural/occult-drama Longlegs is that it doesn’t overplay the Cage card.

The narrative arc of Islands, so minimalist it’s really more of a slow bump, is about the gradual breaking down of Joshua’s small shell of comfort, his family and cultural conventions.

A mixture of social realism, melodrama, and road comedy, the two-hour-plus Broker isn’t Kore-eda’s best work. But it’s redeemed by the filmmaker’s signature deep empathy for his lonely characters.

Despite lacking the visual scope and timeline of Polley's earlier works like Take This Waltz, Away From Her, and Stories We Tell, Women Talking is her most accomplished film to date: An intimate portrayal of a group of people driven to the brink of rebellion lest they concede to defeat.

It occurs at a certain point that Ronstadt was kind of the Meryl Streep of pop music, capable of taking on any vocal role and making it sound like she was born to it.

This is toxic masculinity seen from a feminist viewpoint; rest assured the women are not victims.

A hero from an era when we still had heroes, the diminutive Romanian-born, activist and lawyer fairly burns through the screen with passion born of witnessing the worst that humanity can do. And he still tours the world with the impossible dream of ending inhumanity.