If you can unshackle the film from its creaky thriller frame, Mr. Jones is a well-intended history lesson and one-dimensional inspirational reminder of one reporter’s moral clarity in the fight against totalitarian deception.

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

Smile, the debut feature from director Parker Finn, twists the expectations of a common pleasantry into something grotesque. It's creepy but not new.

So, when all is said and done, this is definitely not Larry Charles’ Borat. It put me to mind more of the later seasons of All in the Family, when Archie Bunker’s bigotry inevitably softened.

The subject alone should ensure that it gets lots of attention from film reviewers and despite a jumpy, hodge-podge style, should be generally enjoyable to anyone interested in the seductive, contentious cultural phenomenon of The New Yorker’s famous critic.

The real treat here is the fabulous original music, sometimes in the background, but more often performed.

Although the subject matter is serious, Ozon has directed here with a light hand and a cool and distant eye. He’s completely avoided melodrama, focusing on people going through their lives day to day. Thanks to his accomplished cast, and sophisticated approach, the emotions are there, but they don’t overwhelm the story.

Don't expect high heroic drama, but definitely be prepared for some laughs and even a bit of MCU canonical continuity, believe it or not.

In a Violent Nature follows the traditional path of a slasher and rises above the genre to be something other than the norm.

The 11th Green is presented in a deadpan, naïve tone of a fifties’ B-movie or a low-budget X-Files knock-off. The smeary sci-fi effects are deliberately hokey, in contrast to the authentic home movies and newsreel footage. Indeed, the sci-fi story is a kind of feint.

Director John Rosman’s debut film New Life is a simple but effective film that sits on the border between thriller and horror. Rosman straddles the line, keeping one foot in both genres and adding an element of apocalyptic drama. The result is a decent film despite the feeling that we’ve seen this before.

Campbell and Johnson – both of whom worked with Radwanski in Anne at 13,000 ft. - make a great team. They've been allowed to improvise some of their dialogue, which adds to a sense that we’re eavesdropping on two people who are responding to a particular moment.

Although it’s not a life-affirming or audience-flattering parable, the drama feels refreshingly raw and adult.

As stark a manifesto against rush-to-judgment as his story is, one can’t help but think how much worse Richard Jewell’s ordeal would have been in a social media-driven world.

Taken either as a metaphor for mourning or as a straight-up fictional narrative with a paranormal bent, The Night House’s ending is as disturbing — and intriguing — as it gets.

Director Halpern has described her film as a cautionary tale about the pursuit of excellence. And if Love, Charlie isn’t really that, it’s still a lively character study. What’s most interesting here is the glimpses of insight into Trotter’s unusual mind.

Leave the World Behind is not perfect — a little long at two hours and 18 minutes, and a little too talky in the final act — but it is emotional and affecting and very of-the-moment.

There are a lot of moments that are quirky, but the film never quite finds the right comedic rhythm. Things that should feel funny rarely rise to make us chuckle, and too often the film, which does have a genuine warmth, falls flat.

Hustle may not surprise you, but that doesn’t detract from its charm. There are mountains for the characters to climb, a sense of connection to others, and other ideas that feel especially rewarding right now.

If you were never interested in medieval Danish history, it’s unlikely that director Charlotte Sieling’s historical drama, Margrete: Queen of the North, will change your mind. Still, there are rewards to be found in this lavishly produced and well-acted costume drama, led by Danish actress Trine Dyrholm.

It’s a modern story that pays homage to the vintage stylings of this pair of characters, a blast from the past that should last for a new generation of cartoon aficionados.

Fans of cynically funny children's entertainment in the vein of Roald Dahl or Lemony Snicket’s Daniel Handler should glean some fun out of the new Netflix animated movie, The Willoughbys, an energetic and semi-imaginative comedy about an appalling family.

In the end, it’s a story about family coming together in the last moments of a loved one’s life and facing death with not only dignity but with honesty as well. A touching story.

Digressive, sure, but hot damn the film is fun, its 155-minute running time as slick as the track at Monza in a rainstorm. And just in time for summer.

Sometimes I Think About Dying dares to ask the question: What if The Office wasn’t trying to be funny? And what if Pam was painfully shy, and Jim damaged from two previous marriages, and no one ever made a raised-eyebrow face at the camera?

Not the most profound movie in Laika’s catalogue. But Missing Link is an entertaining 90 minutes, with glib dialogue that may skew a little old for younger viewers, but with maybe enough realistic physical comedy and terrific stop-motion animation to make up for it.

Welsh director Euros Lyn’s reality-based steeple-chasing feature Dream Horse never deviates far from the expected course. But its off-kilter humour and an ace cast, led by the ever-credible Toni Collette, brings some fresh colours to this unabashed crowd pleaser.

This is a tremendous underdog story, and it works because Holmes shows a viewer exactly who LeMond is and why he was so popular — then as now.