With its quirky take on a doomsday scenario and a hero you could tuck into your pocket, Hanky Panky lives up to its title as a mischievous slice of offbeat nonsense.

The film certainly does not ignore O’Connor’s attitudes and fictional treatment of race. It just doesn’t make it particularly central to her reputation.

It aims to be easy-going, entertaining and joyful, without being taxing or too stressful. At the same time, its reluctance to dig too deeply robs it of some of its emotion and makes it feel superficial.

Meander, by director Mathieu Turi, uses the device of the escape room, or tunnel in this instance, as a way of negotiating the story of a woman’s perilous journey through a debilitating sadness. It’s allegorical, no doubt. But it’s an allegory that makes excellent use of an incredibly intricate and claustrophobic set piece.

It moves, it’s entertaining, Ryan Gosling is as buff as he’s ever been and all-in as an action star. And who knew all it would take was a porn ‘stache to turn Chris Evans from Captain America into a psycho mercenary?

An interesting if rote, talking head–style film about a woman for whom fame was a constant battle but whose shadow stretched longer than her slight frame, a point highlighted often (if not always convincingly) throughout Suzi Q.

Watching the teen romance The Sun Is Also a Star, starring the splendid-looking young couple Yara Shahidi (Blackish) and Charles Melton (Riverdale’s Reggie)), is something like wading through fields of pink candy floss and suddenly finding a speck of grit.

Carmen, the debut film from French dancer-choreographer Benjamin Millepied, is an example of a work that flagrantly colours outside the recognized lines, blending melodrama, myth, dance and stagey spectacle. The result doesn’t coalesce into a neat bundle, but at moments, it’s peculiarly exciting.

If you want a film where the dinosaurs go roar, then this is your film.

Though it’s a movie with an identity crisis, Rahim’s magnetic performance carries enough of The Mauritanian to make it a worthwhile watch.

One to One does the couple a disservice, being too fragmented and random to declaratively or persuasively elevate them as cultural visionaries despite featuring abundant never-before-seen material and newly restored footage. Strictly for fans of Lennon/Ono or very deep 1970s nostalgia.

The film’s best parts, apart from abundant vintage footage and those groovy 60s-era threads, are recollections from those at ground zero, like club operators as well as performers Jimi and Judy Mamou.

The King's Man takes known characters and events perverting truth with fiction. It's an amusing enough exercise even as it can jog free a few lost but freely interpreted high-school history lessons.

As a character study, the film doesn’t dig much more deeply than a news magazine episode. As a study in some aspects of police culture, though, the film has a sobering message.

There are scenes of explosions, gangland killings, car chases, and more explosions. Still, the film strives to be more than just a mesh of Bay-inspired blow-ups and easy to reach jokes.

Not only is this Boyle's gentlest film since the under-seen and underrated Millions (2004), it's also his most improbable, imperfect, and delightful work.

Wright may have made The Running Man the way he and King always wanted — just not necessarily the one we expected.

It’s never a good sign when the Wikipedia page is more interesting than the based-on-a-true-story movie it references.

Credit the towering talents of Emma Thompson and Stanley Tucci with redeeming The Children Act, a film oddly thin on story despite coming from the marvelous Ian McEwan, who adapted his own novel for the screen but somehow failed to capture the surge of the source material.

Here’s the thing: it’s hard to care about anyone presented on screen. Sorry but… they’re just not very nice. Nor are they fascinating criminal masterminds pulling off complex, game-changing capers.

Let’s cut to the chase: Barbie is the greatest advertisement of all time. As a thrilling, escapist summertime movie? Yeah, no.

At times, that slowness and steadiness in writer-director Shelagh McLeod’s tale is worth the wait as solid actors – including Dreyfuss and Graham Greene – do their thing. At others, it’s a source of consternation (particularly when events are moving at what should be a swift pace). But the “sad piano” soundtrack trope in the first act is probably the movie’s biggest hurdle. Stay with it, though.

While sticking close to the tried-and-true talking head documentary format, Harry Chapin: When In Doubt, Do Something — the title inspired by Chapin’s maxim in life and oft-uttered motto — succeeds in celebrating a life truly worth celebrating.

While all of this is too niche for wide interest, the film touches the troublesome heart of adolescent girls’ gymnastics, which is both a triumph of art and athletics and a sport riddled with a legacy of abuse. That abuse is the secondary but most interesting theme in The Golden Girl.

With its dark palette and atmosphere, Honey Bunch could have been a simpler, more disturbing and pointed story. There’s enough there to suggest as much.

While entertaining, The Upside lacks the original film’s fizzy spark, the prickly charisma of its co-stars, and the tantalizingly sense that this incredible story — which is actually true — happened on a planet we would recognize as our own.

In essence, a 90-minute commercial for the festival, inviting audiences to come down to “the most kickass party in the world’ and “the world’s greatest backyard barbecue.”

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