SLAXX is tailor-made for anyone who has ever felt concerned for the mental state of the clothes they discard on the floor. For the rest of us who can abandon our wardrobe with no regard to its psychological well-being, SLAXX is a straight-off-the-rack farce.

Traditional horror fans are likely to find the effort tiresome despite a few intense scenes. But those who like their horror films laced in a philosophical debate will find plenty to enjoy.

The only thing that feels new about Captain Marvel is its protagonist’s gender. And as with Superman, I wonder about the dramatic limitations of such a godlike superhero.

A soft, sentimental, gentle movie that doesn’t ask much of its audience, but can, if only momentarily, provide a salve for the spirit.

There’s a particular confidence to Undertone that doesn’t announce itself with spectacle, but with restraint. It’s the confidence of a film that knows exactly how little it needs to show you in order to get under your skin.

In short, there is much to enjoy in Bonjour Tristesse, but the film as a whole never quite rises to the level of its best parts. And that’s a little sad.

There is a joyful lightness of spirit — and some very beautiful cinematography — in The Queen of My Dreams, the dazzling debut feature from Canadian writer-director Fawzia Mirza which premiered last fall at TIFF.

Like so many recent documentaries that focus on cultural icons, Wolfgang isn’t a deep dive but more of a profile, and an appreciation.

Bombshell is recommended; it’s a fun watch, often surprisingly funny, and snappily directed by Jay Roach (Trumbo, Dinner for Schmucks). Plus, it’s always entertaining to see actors summon well-known real people in a persuasive way. But given what it is and the climate it’s arriving into, it could have been so much more.

Pretentious, which might be defined as a showing an excess of ambition, is a modifier that clings to Luca Guadagnino’s Suspiria — a remake of Dario Argento’s 1977 Day-Glo horror classic — like a wet leotard.

The whole package — written by Sarah Henderson and directed by her husband Curtis Vowell — has a casual, episodic vibe, mixing sardonic banter and broad physical comedy.

Its pace, at least in the early going, is breathless.

It’s a tall order to deliver a portrayal of such an auspicious historical character. Little effort is made to glorify him, and Scott makes sure that the audience renders their own judgement on his significance in history.

The Lost King is a wonderfully satisfying movie. It gives both Philippa her due, and shows us how she not only found, but helped redeem the reputation of King Richard the third. Take that, Shakespeare.

While I already miss the experience of seeing these films in a theatre, Vivarium does evoke TV precedents, most notably Twilight Zone in the cleanness of its premise and the parsing out of dark details on a need-to-know basis.

What starts out as a promising comic thriller deflates quickly as it becomes clear we’re just here for the gore.

If you know Stalter from HBO's Hacks then you know the general territory. In this case, the whole movie is Stalter and while her bizarre charm is formidable, it’s not quite enough to carry everything — a stronger script might have helped.

There’s fun and excitement in good measure as well, but Rocket’s story brings the audience in closer and in doing so, it enables the other characters’ stories to matter to the audience as well.

Unfortunately, in Cold Storage, the first act sets too high a bar to maintain, and the rest, though watchable, is busy-ness punctuated by green splatter.

It’s an interesting juxtaposition of the Queen as a woman, as a girl, as a monarch, at work, at play, in love. For anyone who grew up with the more matronly era of the Queen, images of her as a vivacious, playful, beautiful young woman are fascinating.

What’s mildly interesting about The Beach House, the low-budget debut feature from Jeffrey A Brown is that, while human beings have their struggles and conflicts, the universe doesn’t much care.

A new biopic of women’s wrestling pioneer Mildred Burke is nobody’s idea of a great movie, but it’s an entertaining cheese-fest with a lot of stagey charm.

As with the series, the movie is a mix of situational comedy and some drama. It touches on politics, personal and national, as well as other issues of class and status, that feel both era-specific and contemporary. And, of course, Maggie Smith as the crusty matriarch Violet Crawley, still gets the best lines.

The Traitor is a pleasure to watch. Working with cinematographer Vladan Radovic, Bellocchio blends sweeping camera work and flurries of action with painterly lighting and often ironic musical cues. The story itself is somewhat over-stuffed — the time-jumping narrative (Bellochio and three other writers are credited) and an onscreen counter of murder victims — but this is still a welcome chance to see a great old school European auteur at work.

While the gangster genre over the past 50 years has been the specialty of Italian-American auteurs (Coppola, Scorsese, DePalma and The Sopranos’ David Chase), Mafia Inc., directed by Quebec director Daniel Grou (a.k.a. Podz), stands up surprisingly well.

Door Mouse isn’t exactly noir for the ages, and it has story problems. But it moves, and as played by Law, Mouse is a dead-pan heroine I’d like to see again, backed by a bigger-budget.

The film is long, a shade under two and a half hours, but Scott knows how to pace things so they don’t drag.

Regardless of how derivative Nobody is of films both better—John Wick—and movies a whole lot better—A History of Violence—hardcore action fans will find Nobody hard to resist.