The film succeeds on fan appeal and that’s obviously who will thoroughly and absolutely love this film.

The results are what might be best called “solid” journalism, with the occasional eye-brow raising surprise (Nixon wanted to firebomb the Brookings Institute?) There’s a wealth of archival, often familiar, television clips along with fresh interviews with some of the first-hand witnesses and participants.

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.

Echo In the Canyon is an affectionate look at the pop music that came out of the Laurel Canyon area of Los Angeles in the mid-‘60s, a period that the film argues quite effectively, was hugely influential.

The movie unfolds with what seems like a series of random left turns, which, in some cases, may have been written on the day of shooting. But Qualley and Viswanathan are a likeable odd-couple, in a dumb movie rendered smartly enough to not overstay its welcome.

Despite committed performances all around, Boundaries stays firmly rooted in the meh. Much as we want to root for Laura, her constant whining about her unhappy childhood wins no empathy and drags things down.

Overall, Wolfs is not breaking new ground, nor is it trying to. But it is an entertaining couple of hours at the movies. That works for me.

The scenes feel like they've come straight out of 1970s and 80s B-comedies, outdated and out of step with the main plot, which feels richer in comparison. It’s distracting enough to slow the movie down.

Okita keeps a firm grip on the film's action, maneuvering the story through its layers of twists and possibilities without putting too much of a strain on our disbelief.

What holds all this, mostly, together to the presence of Mulligan (An Education, Shame) and her own ambiguous performance.

Effectively the Ripley of this flight, Moretz makes a good case – again - for her ability to work an action film. Shadow in the Cloud is a fun ride through enemy territory, both human and demonic, and Moretz wields her weaponry with aplomb.

Sometimes, the script is very funny; always, it tries too hard to please; and it never lets you forget that it has been calculated down to a smirk and a teardrop.

Bolstered by actors with serious chops, and a secondary cast of seriously talented singers — including some with Eurovision contest experience — the Netflix movie is sweetly affectionate. But your enjoyment will likely be directly proportional to how you feel about Ferrell and his familiar man-boy character.

Cold Case Hammarskjöld is likely to be divisive; I’m divided myself. Brügger’s awkward juxtaposition of clowning with real-life horrors is off-putting. In a time plagued by conspiracy theories, the film is an example of an acutely timely uneasiness, reminding us how conspiracies can be simultaneously toxic and compelling.

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

You don’t have to travel very far anywhere in Canada these days to see towns whose economic and social life-signs are so weak, you practically see ghosts yourself. Ghost Town Anthology merely brings that feeling to life – or death.

Apart from a few eye-roll moments, Giant Little Ones is redeemed from coming across like a progressive after-school special by the authenticity of performances, particularly of the young actors and a refreshing open-endedness about the fluidity of sexual behaviour.

Though the quirk is ladled on a little thick at times, Woman at War is a surprisingly crowd-pleasing film experience considering its subject matter. In style, Erlingsson evokes the playfulness of Finnish director Aki Kaurismaki, and it seems impossible to film anything in Iceland without being hypnotized by the landscape.

All the intricacies — and absurdities — of creating a modern relationship are on display in Oh, Hi!, a clever comedy with Molly Gordon and Logan Lerman as a couple getting to know each other better.

Like the characters it portrays, Mine 9 simply does its job as best it can with the resources at hand.

Bugonia is not Lanthimos’s best, but it is likely off-kilter enough for fans, or maybe introductory-weird for newcomers to his genre.

At its core, the film is the story of a man who has outwardly achieved everything that most of us imagine any artist or ambitious individual would want but still has to face himself. As we all do. The film captures that with real poignancy.

It doesn’t sound much like it, but Problemista is a comedy and a savage send-up of much of what America holds dear. Torres’ absurdist humour underpins the storytelling.

Spider-Man: No Way Home is a comfort-food present to long-time fans, like a cross-over episode of one or more beloved TV series, with winks, call-backs, trivia, cameos, super-villains and copious destruction.

Though it sounds crude to say it, Sarfaty has found an intimate hook to an almost unapproachably grim subject.

As a valentine to influential 80s alt-rockers The Smiths, Shoplifters of the World is unbeatable, propelled by original Smiths music along with archival footage of band interviews and performances, vintage posters, magazine covers, album sleeves and just about every other bit of era-specific ephemera you can name.

It would have been a nice touch to have Switzer, Watt-Cloutier, and Farmer meet and interact. If nothing else, it might have given Tough Old Broads a connectivity beyond three fascinating stories, separately told.

While Gutnik has assembled a talented cast, the constraints of a 105-minute runtime means the stories feel underdone in places, including anything about that furiously entitled man in the subway.