I must admit I am something of an ignoramus when it comes to classical music, barely able to tell a violin from a viola. But Measures for a Funeral also has much to say on the broader subject of music, and indeed sound.

Both a film and an obituary, Put Your Soul on Your Hand and Walk, is a dark, unique document of the Gaza war focusing on a 25-year-old Palestinian photojournalist and poet, Fatma Hassona (sometimes spelled Fatima Hassouna).

The ponderous storytelling is such that you’re always aware you’re watching a movie.

Ultimately, Train Dreams is a unique concoction, and a journey worth taking for its own keening moments of grief and simple wisps of joy.

Christy is ultimately a redemptive story, complete with the discovery of an actual loving relationship. But the road to redemption is rough on the character and, at times, the audience. Still, it has a certain NASCAR charm (particularly in the early scenes), and characters who effectively carry it forward.

Die My Love has gorgeous cinematography, delicious nudity, way-cool music and Robert Pattinson, but the irresistible urge to check one’s watch kicked in early — at the one-hour mark. That’s not a good sign.

Though predictable in its messaging — don’t be afraid to be your wild eccentric self! — the film is visually stylish and clever enough to engage sugar-jagged children and even adults for its merciful 90-minute running time.

It’s an affectionate, meticulously constructed look back on a moment in cinema history that takes nothing away from the original masterpiece and may even lead a few souls to it.

Falconer allows viewers a glimpse into the ordinary lives of richly developed characters in Sunfish. The filmmaker presents their stories in an understated and unhurried fashion, showing lives led against a bittersweet, end-of-summer landscape that is tinged with nostalgia.

Anniversary is a political thriller. No, make that an apolitical thriller. Directed and co-written by Jan Komasa, it’s a hot-button story where all the buttons have gone cold. I’ve been in airport elevators with more pep.

It’s one of the year’s best. Built around a moral question, the film is complex, intelligent, and relatable.

The script by Richard Kaplow, who wrote Linklater’s 2008 film Me and Orson Welles, feels as though it were adapted from an off-Broadway play, with the action mostly in one location over the course of one night, March 31, 1943, the opening night of the Rodgers and Hammerstein musical, Oklahoma!

It speaks to the legacy of things that are impossible to record: love, experience, encouragement, a sense of family and belonging that Anne Meara and Jerry Stiller gave to their children, and which continues through them into the next generation.

The film succeeds on fan appeal and that’s obviously who will thoroughly and absolutely love this film.

At its core, the film is the story of a man who has outwardly achieved everything that most of us imagine any artist or ambitious individual would want but still has to face himself. As we all do. The film captures that with real poignancy.

Bugonia is not Lanthimos’s best, but it is likely off-kilter enough for fans, or maybe introductory-weird for newcomers to his genre.

Though Who Killed The Expos? isn’t much of a mystery, it’s a good baseball story in the cry-in-your-beer tradition, of what has often been described as a “game of failure.”

It takes incredible talent to make something this spare work. The Mastermind is the kind of high-wire act that only someone as gifted as Reichardt could pull off.

This Too Shall Pass is a delightfully unexpected story of growing up, in the same vein as pretty much every John Hughes film. It’s laced with nostalgic hits of the 80’s and the type of humour you remember laughing at as a teenager.

There’s still plenty to admire: Derrickson’s eye for atmosphere, the bleakly beautiful snowscapes, and a handful of effective scares. But where The Black Phone haunted you with what might happen, Black Phone 2 simply tells you what will.

After The Hunt is elusive, but you won’t stop thinking about it after you see it — that’s a good thing.

Still, it’s a fascinating psychological thriller, a ghost story with (as Dickens would say) more gravy than grave in its construction.

In the end, del Toro has created an impressive piece of entertainment that manages to retain the existential thoughts that inspired Frankenstein in the first place. Ultimately, it’s one of his best films.

Kiss of the Spider Woman remains an engrossing tale in this new century, and a lovely paean to old movies and the thrills of getting lost in them.

There is joy in seeing this gifted ensemble have fun with their broadly scripted characters with Los Angeles in all its trashy splendour backdropping it all. But this angel comedy doesn’t quite reach for the heavens.

The performances are uniformly good — Dunst is particularly appealing — but there’s something unsatisfactory about the storytelling.

Director Mercedes Bryce Morgan (Fixation, Spoonful of Sugar), working from a script by Joshua Friedlander, keeps the pace moving well and creates some undeniable fun in a shell game of the three movie genres that depend on physical reaction —comedy, horror, and erotic thriller.

V/H/S Halloween marks the eighth entry in the franchise, and somehow it manages to feel just as effective, maybe even more so, than its predecessors.