Despite the talent of the voice actors and the success of the previous franchise films, this fails to attract the attention that I think it deserves because it’s a shortcut.

The main takeaway here is that online abuse is not simply the ravings of twisted individuals, but often part of systematic campaigns of terror, designed to frighten and silence women in positions of influence and power.

Like the paradox of Schrodinger’s Cat, it’s probably best not to watch The Tomorrow Job. That way, it can both be entertaining and not.

Technically, Supercell is not a bad movie. But it’s dragged down by the economics that insist a low-budget movie needs some minor celebrity voltage. It’s at its best when people aren’t talking.

An unusual blend of a travel show and those MTV staple Unplugged specials, Bono & The Edge: A Sort of Homecoming, with Dave Letterman on Disney+ isn’t exactly a deep dive as far as travelogue goes. But it does offer a glimpse into U2’s soul.

What emerges is a portrait of a thinker forever questing, contemplative, and opinionated and engaging and funny. A writer and most importantly, a reader, and one who will likely make you want to cancel your next movie date in favour of something more literary.

The film Dark Windows, by Norwegian director Alex Heron, manages to work in both forms of teen-o-cide in a film that feels like a Mothers Against Drunk Driving public service announcement appended to a slasher film, though that makes it sound more exciting than it is.

Ukrainian director Roman Liubyi’s Iron Butterflies is an experimental film, a memorial scrapbook and a forensic documentary that revisits the 2014 downing of the Malaysian passenger plane, Flight 17.

Canadian writer-director Tim Brown captures a heady mix of action, bloodshed and comedy here, hitting all the high notes of a crime thriller even as he appears to be spoofing the genre — and who better to do that with than Cage, the meta master himself?

The intersection of Hollywood and Pandemic provided ample lessons in how NOT to respond to terrible real-world happening. To wit: Don’t make a quick, inexpensive, exploitative “inspired by true events” movie just to capitalize on tragedy.

Dubious, predictable, and short on character development, this B-movie cheesefest is nonetheless watchable thanks to a spirited performance from Odeya Rush (Lady Bird).

With no risk of over-subtlety, Uproar mixes gentle quirky comedy with a few digs at clumsy white allies and the myth of the innocent bystander.

Someone Like You is essentially a 30-minute Hallmark-like film stretched into two hours of romance novel fluff via playful-lovebird music videos and other visual padding.

Lost Angel — with its engaging mix of animation, talking-head interviews, voiceovers, still photographs, and archival footage — ensures viewers understand the depth of her achievement over two albums released in her lifetime and a third issued posthumously.

It brushes up ever so lightly against Eternal Sunshine of the Spotless Mind. And there’s a little of early-ish Yorgos Lanthimos (Alps, The Lobster). Except, you know, more heart. Much more heart.

It’s a forgivable fault for a first feature such as Before I Change My Mind to try to do too much, especially at a time when gender issues have become so politically contentious. The film can plausibly be understood as a protest against the kind of new more restrictive youth gender laws introduced in several jurisdictions, including Alberta earlier this year.

Clennon, does a great job conveying Benjamin’s anxious reserve, and internal struggle to beg for help without having to offer lengthy explanations.

Sometimes the story isn’t so much the thing. It’s the way the story is told that delivers the goods.

It’s not reluctance that prevents Leiser from divulging the driving force of the film’s narrative but rather a self-assured and less defensive “take-it-or-leave-it” attitude. The “opera” aspect of the film will be highlighted in the review and press material, but for Leiser, Freydís and Gudrid, it is simply a good story told through music.

At any rate, you’ll be entertained. What you won’t be is transported, and that’s kind of the goal.

Valley of Exile is a slow, closely observed and very personal story that distils the terrible cost of conflict and presents it on a relatable human scale. While the film celebrates the women’s resilience, it also shows the gradual, inexorable unravelling of family as all things familiar fall away.

A movie with a surreal premise, that examines whether it’s better to be not seen than hurt, The Invisibles is a tonic for the soul.

The Wait is a modern morality fable that initially unfolds like a revenge Western but then transforms into a supernatural horror story.

A more focused storyline might have served her better. Then again, Field wholly embraces the quirky. By that metric, with Happy Clothes, she got something very much in line with her own aesthetic.

Compulsus is a revenge thriller with a twist. No, make that two twists.

It’s fascinating to watch Join or Die and see how Putnam’s work has affected other areas of research, such as community connections and economic mobility.

Written and directed by Barry Avrich, Born Hungry is part travelogue, part Master Chef foodie outing, and part rags-to-riches Canadian success story. The parts don’t always meld together, but Simpson’s life is fascinating enough to hold a viewer’s attention throughout. He is a compelling individual.

Seeds tackles topics as diverse as agri-business, colonialism, intergenerational trauma and personal grief — not to mention the enduring and often overlooked heroism of house cats. Its drama will grow on you.