Watching The Souvenir: Part II is a wonderful tonic for those feelings of ciné cynicism, a reminder of film as a means of discovery.

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

The Hand of God lacks the imagination and mysticism that elevated The Great Beauty from being just a navel-gazing narrative about film. And the movie's presumptions about sexuality and coming-of-age are far too male-centric to be comfortably amusing.

Raccoon City is most fun when showcasing Avan Jogia as a rookie cop who’d been transferred to Raccoon City after accidentally shooting his partner in the butt—a bad joke that Jogia turns into a workable gag.

Subtlety is the strength of The Humans. It is an intelligent even-handed drama where the family’s issues aren’t played to the point where they’re gruelling and destructive. Rather, they show us something more ordinary and therefore more truthful.

It’s an easygoing, highly enjoyable look at the life and considerable influence of Julia Child.

Those ambivalent towards children may find the film positively tedious. Those in tune with its up-close storytelling and gentle pace may find much to enjoy.

There’s a sense that the film is attempting to navigate a sort of Atom Egoyan-like exploration of the ripple effects of trauma but it stumbles over a mishmash of a screenplay — the clumsy fragmentary flashbacks, the rushed climax and time-jumping, cross-cutting wind-up — none of which are improved by David Fleming and Hans Zimmer’s generic thriller score.

Certainly, it’s a welcome call-back to grownup movies of 1960s and 70s, about adult intimacy and meaning-of-life concerns. Shot with crisp, unfussy clarity inside a car or in boardroom offices and the streets of the modern urban Japan, it’s a drama about the intricate ways love, performance, and work merge into each other.

Unfortunately, despite these juicy elements, a star-studded cast, and a star director in Ridley Scott, House of Gucci is tepid and underwhelming.

She Paradise, which runs a brief 71 minutes, is raw in more than one sense. The characters are thinly developed, and the dance sequences, as robust as they are, could be more dynamically shot. On the plus side, Nestor — with her watchful quiet manner — is persuasive as a young woman awkwardly finding her way, and the other women are forceful presence.

Encanto is just so lovely to look at that its story, while well-told, is almost secondary. You honestly just want to crawl inside the screen, wear Mirabel’s swooshing skirts, pet those donkeys, sniff those flowers, and chow down on that grilled corn. Wonder and imagination are in abundant supply.

Jason Reitman’s Ghostbusters: Afterlife, a sequel to his father Ivan’s hit 1984 comedy about paranormal exterminators, is an exercise in family homage and over-familiar exorcism.

I was worried King Richard would come to resemble the platitudinous The Pursuit of Happyness, which earned Smith an Oscar nomination, but is not one of my favourites of his films. I was pleasantly surprised thereafter.

With The Power of the Dog, Campion has crafted a contemporary Western masterpiece that turns on the same pacing and style of 50-year-old films. She takes her time, letting the story, based on the 1967 novel by Thomas Savage, reveal itself in languid style.

Odagiri doesn’t give us many answers. They Say Nothing Stays the Same is enigmatic and, in some ways, frustratingly elusive, yet also affecting.

Tick, Tick…Boom! packs a great deal of joy into a story that pushes a more modern and darker take on the make-it-or-break-it mantra of classic ‘40s musicals. The songs are engaging and staged with a feel-good choreography that consists less of formalized dance (for the most part) than it does gleeful bursts of movement.

After proceeding through the childhood epiphanies and observed details, Branagh’s memory journey stumbles in the last act as he attempts to elevate the material into scenes of climactic magical realism.

Anchored by a solid performance by Tom Hanks, Finch, is a small-scale drama, that is ultimately — and please forgive me for being cliché — about the beauty of being alive. I mean that in the best way possible.

The largely interior cinematography by Claire Mathon is stark, cold and beautiful, backed by a soundtrack that ranges from funereal chamber music to discordant jazz-noise meant to inspire dread. If that sounds uncomfortable, well, that’s the point of being her.

Ambitious, yes. You’d expect as much from Oscar-winning indie director Chloé Zhao, who’s taking her leap into the world of nine-figure budgeted blockbusters. Unfortunately, the net result is underwhelming.

The decision to avoid having the characters speaking Chinese saves the trouble of subtitles but it also makes the drama feel generic, another pulpy sub-Scorsesian urban nightmare with episodes of spastic violence, the constantly throbbing soundtrack, the use of slow motion, and wide-screen, colour-saturated camera work.

Roh is a simple story, fueled entirely by atmosphere.

Visually, Antlers is stunning as a portrait of a town dying. And there are plenty of gruesome, hide-behind-your-eyes scenes to satisfy most genre fans. But it's Cooper's commitment to his characters and the performance of the film's two youngest leads that make Antlers more than just a movie about killer—well, you'll have to see for yourself.

It’s a beautiful-looking film. The characters treat each other with respect, and I’m sure that there are people out there who will appreciate that the movie, addresses a tough issue, without being too taxing or challenging. At the same time, the movie’s cautious approach short-changes the story and the issue.

I’m a fan of Wright’s work, so I’m disappointed that Last Night in Soho doesn’t hold up on both halves. But the parts that work, work terrifically.

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.

Wife of a Spy is in some ways an imperfect film, sometimes stiff at the joints or broadly obvious, but it’s also carefully crafted and conceptually inspired.