While so many movies lack a decent wrap-up, Theatre Camp goes out on a high note. You might not walk out humming show tunes, but you will leave smiling. After all, no one does curtain calls better than theatre people.

Oppenheimer is three hours of testimony played out as drama. There are no action scenes as such, besides pyro played on the quantum and city-destroying level. It is the opposite of escapism, but it’s real history worth telling.

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.

Picturesque and genuinely heartfelt if a smidge corny, the Irish-set dramedy The Miracle Club serves mainly as a showcase for its trio of talents, Laura Linney, Kathy Bates, and Maggie Smith, billed in that order.

On an obvious level, it’s a character study of the artist as an insufferable young prig, a type that, as Petzold no doubt knows, is familiar to the point of cliché. But as the film unfolds, and boldly shifts tone, the character suggests the larger theme of struggling to stay humane in a broken world.

The stunts are simply breathtaking, and the car chase sequences could put the works of Steve McQueen and Gene Hackman to shame.

There are enough dream sequences infiltrating the action to confuse even devoted fans, while Insidious newbies and part-time dabblers are left to wonder when Freddy Krueger might arrive on scene. Wilson’s first stab at direction is not entirely a failure, but neither does he push the franchise to any new heights.

It’s still not bad, and its pacing works surprisingly well given its paucity of plot. Fans of the actors, or of low-key, high-concept sci-fi, should be pleasantly surprised. For others, mere surprise may be all that awaits.

Director Chris Smith resists unnecessary embellishments to tell the story of the friendship and partnership of Andrew Ridgeley and the late George Michael two school friends who became international music superstars. The result is a satisfying documentary that resists hagiography and instead focuses on the human beings.

It’s a clever bit of noir that keeps a viewer slightly off-balance at all times as the tension builds.

In this feature debut, De Filippis paints an utterly believable picture of the kind of immigrant/children-of-immigrants family where emotions fly and can turn from rage to love on a dime.

Maggie Moore(s) sun-baked backdrop — it was shot in and around Albuquerque — imbues the crime drama with a contrarian vibe that might be called Coen-esque though with much less umph than No Country for Old Men. It’s an enjoyable watch to be sure, but not destined to be memorable.

This is a tremendous underdog story, and it works because Holmes shows a viewer exactly who LeMond is and why he was so popular — then as now.

The two biggest questions I had going into Indiana Jones and the Dial of Destiny were: will it be fun and will the film stay true to the character of Indiana Jones. The answer, I'm pleased to say, is yes on both counts. It's a ton of fun. I had a blast.

Some jokes are a little on the cringeworthy side, but overall, they work. It’s a film that essentially hijacks the cuteness of The Little Mermaid and manages to successfully transfer it to a shy, math-loving awkward teenager who just happens to be able to transform herself into a 50-foot-tall sea-beast.

If you can get past the faintly ridiculous-slash-icky premise, underscored by the film’s double-entendre title, No Hard Feelings plays its broad comedy gamely and with some snappy dialogue to boot, albeit much given away in the trailer.

It is slap-in-the-face powerful, taking place 35 years ago (I always wonder in period pieces where the characters are today; Jean would be in her mid-60s) but full of the kind of educational turmoil and “woke” fears that stoke today’s Western culture wars. The more things change...

Asteroid City is very Wessy. Maybe the most Wessy ever. And thank goodness for that.

The film works, mostly as a comedy, never as a horror, but would work better if Story didn’t squander the film’s potential with an uneven script that fluctuates between extremes.

While the movie motors along with admirable pacing for most of its lengthy running time, it stumbles in the final act, which is marred by even more bad special effects and a maudlin reunion.

As an artistic design challenge, Elemental has triumphant moments (which may be good enough eye candy to keep kids occupied). But as a story, it doesn’t appear to aspire to much beyond a standard star-crossed romance.

Even with its decent performances and polished production values, Persian Lessons never clears the hurdle of its improbable premise, an idea that could serve as the setup for a bad-taste Mel Brooks’ sketch.

Possibly, no sane person could truly explain Dalí — who could account for the painter of Atmospheric Skull Sodomizing a Grand Piano? — but Harron’s film maintains a wry compassion for these mad love birds, who have spent their lives defying convention and perhaps reality itself.

Squaring the Circle is a gripping true story told with towering visual panache.

Maybe giant robots that turn into cars, or in this case, animals, isn’t your deal. But despite the goofy premise and the formulaic nature of the story in Transformers: Rise of the Beasts, it isn’t that bad.

Don’t get me wrong: I’m not saying that I enjoy violent films, but The Wrath of Becky is an example of a film that disappoints its audience with a failed promise. Given the extreme violence of the last film, we aren’t just shocked enough by the battle between her and the group of antagonists who have a veritable arsenal in their barn to start a small war.

Aside from a few cleverly executed jump-scares—which are to horror what tickling is to comedy—The Boogeyman drags with G-rated scares and an appropriately dreary atmosphere, but dreary nonetheless.

What it took to put together one of the most highly acclaimed exhibits ever on the art world calendar is captured in Close to Vermeer, a documentary brimming with passion, intrigue, history and beauty from director Suzanne Raes.