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.

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.

To repeat, Folie à Deux is not “canon.” It’s a writer/director realizing a vision with something sincere and clever, which you can accept or reject. Superhero fans will get their fix soon enough. But this is not that.

It’s not accurate to say the film stars Saoirse Ronan. Saoirse Ronan is the movie, the luminous north star of every scene.

It’s impossible to overstate the range of emotions, from heartbreak to delight to humility, conjured by the new documentary Blink, which is also visually dazzling thanks to its pedigree as a National Geographic Documentary.

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

Frankie Freako isn’t the film you’re going to rave about to friends. It will, however, be an excellent subject for conversation about how much films got away with in 1986. If you can watch this film through that lens, it’s definitely a freaky film you can appreciate.

Campbell and Johnson – both of whom worked with Radwanski in Anne at 13,000 ft. - make a great team. They've been allowed to improvise some of their dialogue, which adds to a sense that we’re eavesdropping on two people who are responding to a particular moment.

Jason Reitman’s Saturday Night is a representation of 90 eventful minutes of TV history as tightly packed narratively as a neutron star. It is about that tightly wound as well. For a movie about the debut of Saturday Night Live, the show that changed comedy, the experience is more anxiety than humour.

It's a very easy story to accept, but the ease of the storytelling allows the message to penetrate and gives rise to thoughtfulness about how we can be better to those around us. Quite simply, this film allows us to want to be better than who we are.

Seeking Mavis Beacon starts off as one thing and then becomes another, overall a chaotic but intriguing journey about art, identity and history in cyberspace … where everything lasts forever.

New Rome wasn’t built in a day, and we don’t always get the film we want. I doubt even Coppola did with this one. Megalopolis is what it is. You probably wouldn’t want to move there. But it’s worth visiting as a tourist, if only to gape at the locals.

These questionable narrative kinks aside, Lee still features one of the year-to-date’s best performances, honouring a woman who needs to be remembered, along with a sober consideration of the roles of women in wartime.

In this nuanced and often joyful film, the only violence involves the recurrent crash of bulldozers through stucco and timber walls as the neighbourhood transforms and some dreams get crushed as well.

Beyond the humor and pathos, Will & Harper is a touching and heartfelt exploration of friendship.

Schimberg’s film is a blend of low-level science fiction and mid-range body horror, though it’s body horror with a social conscience. It’s remarkable viewing, even as it distills its theme into a well-worn message of resilience that’s idealized rather than realistic.

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.

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.

Still, as a premise it’s irresistible. And Megan Park’s funny and touching My Old Ass brings a fresh twist to a mystically-assisted two-way generational life lesson that, in the movies, has usually involved switching bodies.

Writer-director Coralie Fargeat’s comedy is an inspired send-up of the contemporary emphasis on youth and beauty.

Transformers One is a great watch for longtime fans. Though the franchise’s box office success in this century has been predicated on noisy live action with a CGI assist, this exciting and fun-filled film returns the Transformers to their animated roots.

Director James Watkins’ American remake of Speak No Evil, starring James McAvoy and Scoot McNairy, is a thrilling, fun night at the movies.

This critic says The Critic is an imperfect film saved by a terrific cast. In particular, Sir Ian McKellen steals the show as a preening newspaper god in 1930s London.

In the end, all Beetlejuice Beetlejuice did for me was make me want to see the singular version again.

Reagan the man may have been known as The Great Communicator, but Reagan the movie delivers its message stridently and with little nuance or room for debate.

You Gotta Believe is billed as family entertainment. Whose family, exactly, they never specify.

Out Come the Wolves director/co-writer Adam MacDonald keeps us guessing until practically the final frame as to how it’s all going to play out in this finely crafted sylvan thriller.

There is a gentle, sad, sweet core to Between the Temples, though American indie director Nathan Silver seems determined to discourage any feelings of sentimentality in a movie that could easily have tipped in that direction.