The film is part buddy comedy, part rom-com, and partly just good natured silliness, but it coheres. It’s entertaining enough that you can just go with it, but there is depth there, if you’re so inclined. It says a few meaningful things about relationships without becoming a self-help class. And it has heart and charm in spades.

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.

It may not be quite as thrilling as Edgar Wright’s brilliant The Sparks Brothers, which had the benefit of two still-living, sharp-as-tacks protagonists to interview, but it’s a must-see for fans and a highly interesting two hours for music junkies.

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.

If there’s one thing that Beast does well, it keeps its audience on the edge of their seats.

A first-person documentary about a Los Angeles couple’s decision to move to the country and start a farm overcomes its excessively preciously start to become a genuinely insightful meditation on agriculture, nature, and our precarious relationship to the planet that feeds us.

The movie is both an exercise in self-mockery and a spoof of both Hollywood and the kind of movie Cage might take to pay the bills.

Emily the Criminal is the debut feature by John Patton Ford, who also wrote the script. He’s done a nice job here of ramping up the tension, without resorting to a lot of overwrought situations or melodrama. He keeps the story small and contained and the camera close on the characters.

Mohr appears to be in control even when the film takes wild swipes from the absurd to the dramatic. Still, Boy Kills World works.

The Harder They Fall aims for, and mostly hits the target, with a double-barreled blast of entertainment and historical reclamation.

It’s, ironically enough, a terrific, serious performance by Will Arnett, arguably the best of his career.

Seligman’s tight script landed her on Variety’s list of 10 Screenwriters to Watch for 2020. She uses classic Jewish humour and archetypal characters here that echo 1960s comedy albums and TV sitcoms but freshens it with Generation Z angst and a cascade of emotional pileups.

Though sometimes over-explanatory, the film gains in complexity as it progresses, raising thorny questions about the duty of victims to maintain their humanity.

Les Miserables is an intense ride, a gripping action-filled police procedural that leaves you with grappling with social issues and youth when the movie ends.

So, Ticket to Paradise… see or skip? Easy. See as there’s lots to enjoy. Bouttier as the wise-beyond-his-years Gede is absolutely rubberneck-worthy, the scenery and backdrops are gorgeous if out of reach for most of us, and the film crackles with energy. But you’ll be watching movie stars at work, and you’ll never forget it.

The film adds an authentic emotional resonance to an important story about an exceptional human who was singing her mind at a pivotal moment in 20th-century pop-culture history.

Returning director Chris Renaud, co-director of parts one and two, knows his way around the characters, and he knows what his audience wants: cartoon mayhem, mild naughtiness from the Minions, social awkwardness from Gru.

The deliberate pacing, cinematographer Tómas Örn Tómasson's images reminding of the vulnerable human scale against the landscape and the skeletal narrative, bringing a refreshing purity to a classic predicament.

Chapter 1 of this undertaking is imperfect, at times meandering and once or twice confusing, but it is never boring and never feels over-long. And it is spectacularly beautiful to look at.

The stubborn ambiguity of Last Summer — with its genuinely could-be-this, could-be-that head-scratcher of an ending — will either be a dealbreaker for viewers or proof of bold, irreverent storytelling that refuses to be neatly packaged. To be sure, the film isn’t judging so much as presenting a fraught scenario for its audience to consider.

Awash in colour and sunlight, the doc The Last Resort is both a modern cultural history of the confounding should-be-paradise that is Miami Beach, and a loving bio of a young, short-lived photographer who froze one of its moments in time.

Cohen’s script doesn’t get backed up with messy gags that would rather have you gagging than amused. Instead, it’s flushed with charm, warmth, and just enough horror to put you on the edge of your seat—or rather, put your seat on the edge.

If you're looking for a little kid–friendly movie, Pixar’s delightful new animation Elio is just the ticket.

If Decision to Leave is indeed intended as an homage to a genre, mission accomplished.

David Crosby: Remember My Name is an excellent debut by first time documentary director A.J. Eaton. He has a journalist’s sense of story-telling. He doesn’t soften or romanticize Crosby’s story, or the era for that matter, and stays just far enough away from his subject to avoid judgement.

V/H/S Halloween marks the eighth entry in the franchise, and somehow it manages to feel just as effective, maybe even more so, than its predecessors.

There aren’t zombies rampaging through Norwegian director Thea Hvistendahl’s quiet film. Instead, the spare, slow-paced, thoughtful film is an affecting story about coping with grief.

Monos is an immersive, sweaty, almost hallucinatory experience of hormone-driven anarchy.