It’s a modern story that pays homage to the vintage stylings of this pair of characters, a blast from the past that should last for a new generation of cartoon aficionados.

The Rule of Jenny Pen is a dark and deeply unsettling film. Lithgow is unhinged and Rush is the perfect foil to attempt to bring him down.

Mickey 17 is a long ride with a running time of about two hours and twenty minutes, with unexpected twists and turns. It’s a lot of fun, and as previously noted, is stuffed with ideas.

The Silent Planet is, at first glance, an ungainly pile of science-fiction tropes and platitudes that has no right to gel into anything cohesive or interesting. But do give it a second glance, because it does just that.

This is as close to a grilled cheese on white made with Kraft Singles as a movie can get. Comforting in its way but so blandly familiar.

This fictional recreation is wonderfully claustrophobic, but the storytelling does not include enough character development to leave a viewer fully invested.

A semi-autobiographical and powerfully moving story by Kyle Hausmann-Stokes, My Dead Friend Zoe is inaccurately described as a “dark comedy” or as a “buddy film”.

Fighting giant robots - even though they are so freakin’ cool - aren’t enough to make a great film, and I know after forty years, this won’t change.

Ultimately, Grand Theft Hamlet — again, I’m referring to both the performance and the movie — is an emotional triumph. Best of all, you don’t need to be an experienced gamer to enjoy it, though I’m sure there are in-jokes for the initiated.

As written by Italy’s Paolo Sorrentino (who also directs), there is precious little going on beneath that alabaster exterior. One can only have characters ask each other “What are you thinking?” so many times before it feels as though the question is being begged.

As you might expect from King, The Monkey is dark, ruthless, and violent. What you might not expect is just how funny it is. Like, it's genuinely hilarious.

It’s jittery in its pacing, the characters thinly drawn, and the youth crime drama elements formulaic...At the same time, the film feels emotionally original in its discordantly tender moments.

As a turn-your-brain-off, tech-heavy action movie, Captain America: Brave New World succeeds well enough. As a Marvel movie that connects with other Marvel movies in any meaningful way, or charts a new direction (other than that vague suggestion of a “New Avengers”), it’s little more than a space-filler.

A shamelessly feel-good movie buoyed by dynamic, lived-in performances, Suze offers emotional rewards far grander than its simple story might suggest. And it’s an honest pleasure to watch.

Despite some impressive kills and a respectable body count, Heart Eyes is more romcom than slasher. However, it's a genre mishmash that creates a wholly unexpected delight. Imagine Jason Voorhees stumbling onto the set of Sleepless in Seattle or an entry in the Scream franchise directed by Garry Marshall.

Thick with dank atmosphere and well-acted with a cast that includes Colm Meaney and Barry Keoghan, it’s a drama about angry men with mommy issues that starts with a slow burn and ends up to its ears in gore.

The good news is that the whole shebang lasts just 83 minutes, stem to stern. The bad news is that you can only coast along on your love of Quan’s natural charm and screen presence for 60- or 65-minutes tops.

In short, Universal Language is something of bag of mixed nuts, a Frankenfilm, a cinematic turducken, with comic non-sequiturs and sight gags linked by three narrative strands.

Dark Match, a recent addition to a growing line of stream-screams, combines the melodramatic tensions of a sports drama with 80s-style schlock horror.

This is a story that could easily have descended into something very seamy, but Lee keeps the film's tone light. Sonny and Chester are lovely people, who are on the level and really, really like each other.

In I’m Still Here, Walter Salles’ first feature film in a dozen years, the Brazilian director manages an impressive feat of teleporting, placing the viewer inside the cheerful chaos of a large Brazilian family.

Companion ultimately delivers on three levels. It’s a creepy (and occasionally bloody, and also funny) thriller. It’s a whodunit, or maybe a whatdunit. And it’s a philosophical door-opener into questions to ask of ourselves when it comes to our computational creations — what to make of them, whether and how much to feel for them, whether we owe them anything.

Frothy, but deceptively dense, Liza: A Truly Terrific Absolutely True Story focuses on Liza’s psychology and her friendships and teachers through the 1960s and 1970s.

While there are a few twists in the film, much like the certainty of a flight delay, none arrive unexpectedly.

Even Discovery fans will have to admit this spin-off is just simply a weakly told story. The characters are contrived and even a talent like Michelle Yeoh can’t save it.

The film’s star Amy Adams balances relatable comedy with dramatic empathy. In practice though, Nightbitch fails to converge their talents, resulting in a film of interesting moments that drifts to a tepid conclusion.

Hard Truths is a film centered on a difficult, damaged human being. Watching the movie is not unlike the experience of being in the company of just such a person — uncomfortable, sobering, deeply moving.

It’s a ghost story, a minor entry in Soderbergh’s oeuvre but still worthy of attention.