Kinds of Kindness is certainly a display of disparate kinds of weirdness. But unlike Poor Things, which was both provocative and told with absurd clarity, this anthology is a mixed bag of wannabe profundities.

It’s a quiet, thoughtful movie that aims to be sensitive to the family, while plumbing some of the darker feelings that this late success wrought.

In parlance its subject would have understood, the documentary The Capote Tapes, about iconic American writer Truman Capote, feels like something late to the party and underdressed.

Though The Apprentice does not really explain Donald Trump as a psychiatric or political phenomenon, it justifies its existence as pitch dark comedy with some terrific performances and a reminder that even the Orange Menace was once someone’s darling boy.

What’s interesting about the lifelong war-buff’s approach to this movie is that Hanks has been absolutely ruthless with Forester’s novel, paring it down to 91 minutes of pure tension sandwiched by bursts of action.

If the film’s execution doesn’t always rise to the level of its elusive ambitions, the fault is not a lack of sincerity.

The charm and the limitations of this modestly budgeted, good-hearted trifle, set in a middle-class Scottish village, are its youthful energy and anxiousness to please. Along with the mechanically efficient tunes from the team of Roddy Hart and Tommy Reilly, the entire film feels as if it could have been written and produced by a group of bright theatre students.

There are counter-intuitive plot-turns to be sure. But like the best science fiction, The Creator is more about us than about The Other. And it has an emotional core that you seldom find in other action films of its size and budget.

Canadians already made the definitive young-woman-turned-werewolf movie, with 2000’s Ginger Snaps, which is a bar to clear if Bloodthirsty is to make an impression on veteran horror fans. But the pop music angle, an LGBT angle, and a studio Svengali who lives in a mansion in the woods, gives Bloodthirsty some points for fresh twists.

Rarely do remakes capture the lightning in the bottle of the source material. But The Guilty does, no doubt in part because screenwriter Nic Pizzolatto, best known for the True Detective series, drafted Gustav Möller, who wrote the original screenplay for and directed the original. Whether a remake was needed remains debatable, but the vision remains intact.

Considering the (pardon the expression) glacial pace of much of the lead-up, Hold the Dark’s eruption into massacre-level violence is jarring. Once it takes hold, it is relentless and grueling.

On Swift Horses is best admired as a visual tone poem to the era, not so much a realistic story. The conceit of casting characters who seem too splendid for their surroundings evokes the movie melodramas of the fifties, the time of Elizabeth Taylor and Montgomery Clift.

It’s a testament to director Will Sharpe’s vision and humanity that a story predicated on mental illness, poverty, death, and heartbreak ultimately comes across as hopeful and lovely — whimsical even — while looking gorgeous on the screen.

With its themes of the superficiality of arena-sized hallelujahs and the worship of riches, Honk for Jesus: Save Your Soul is a terrific platform for some solid actors to strut their sanctimonious stuff.

Director Simon Curtis and writer Julian Fellowes deliver the dual comedies of errors with cheer, sprightly/stately music and the lightest of drama. The scenery, both at Downton and in France, is worthy of Rick Steeves’ Europe. If this is a goodbye (and there are plenty of signals that it is, barring unexpectedly huge box office), it ends on a note of smiles, tears and no hard feelings.

Knock at the Cabin doesn’t send you home with a clever epiphany that has you rethinking everything you just saw. What he gives you is an ending that you never have to think about again. And a film to match.

Kiss of the Spider Woman remains an engrossing tale in this new century, and a lovely paean to old movies and the thrills of getting lost in them.

Blood Quantum is not short on social, and cultural observations, but neither does it scrimp on zombies gorging on lengthy intestines.

The writer-director behind The Card Counter and First Reformed makes a misstep here, courtesy unlikely characters and sometimes mystifying plot changes. Luckily, stars Joel Edgerton and Sigourney Weaver are in top form, which is enough to keep a viewer happily occupied for the first hour.

While H is for Hawk is a genuinely lovely film — often visually beguiling, beautifully acted, and tender-hearted — it lacks dramatic punch, which may be the inevitable byproduct of a cinematic interpretation of a deeply introspective book that rooted the reader deep in the author’s psyche.

It’s a heartfelt film that seems to be aimed at the strength of familiar love in spite of difficulties. The elements are all there, but the film’s repetitive structures render it frustratingly flat.

In drawing similes between the then and the now, Goulet juxtaposes history with prophecy. Using conventional science-fiction tropes—the collapse of society, a military state, dystopia, and unidentified flying orbs—she creates a sound case for entertainment to share the screen with stories that have meaning and social impact.

It’s a fantastic mix of the funny, the astute, the disturbing and the brainy in the very specific style of Östlund. It’s a pleasure to watch it play out.

Let Him Go doesn’t reinvent the wheel. It is a genre thriller, where the good guys face impossible odds against cartoonish bad guys. But it plays out with style, violence that doesn’t strain credulity, and a consequence for every action taken.

Freaks is a mind-bending thriller that is subversive enough to be rebellious, and in this era of CGI superhero cinema, the revolution is welcomed.

For a biopic about Maria Callas, one of opera’s most vivacious personalities, director Pablo Larraín’s visually sumptuous Maria is unusually downbeat.

You can’t come away from Love, Cecil without appreciating how much of Beaton's aesthetic outlived him.

Thick with dank atmosphere and well-acted with a cast that includes Colm Meaney and Barry Keoghan, it’s a drama about angry men with mommy issues that starts with a slow burn and ends up to its ears in gore.