This ebullient equestrian comedy thriller is effortlessly enjoyable as camp spectacle, with shades of Almodovar in the mix, even if its twist-heady screwball plot ultimately delivers more style than substance.

The Brutalist aims for symphonic grandeur and novelistic depth. It partially succeeds, though it too often mistakes pomposity for profundity, and bloated verbosity for literary nuance.

Köln 75 is an enjoyably off-beat blend of biopic, historical pageant and music-geek lecture from US writer-director Ido Fluk.

This Finale is basically one giant victory lap that takes the Crawley family and their employees into 1930 and beyond — as Cole Porter once wrote, “it’s fun/it’s fresh/it’s post-/depresh.”

[Kapadia’s] delicate touch remains very much the same, as she offers a gentle but clear critique of the challenges faced by women in India today.

Ministry works best when it chucks history out the window and leans into cinematic silliness.

Adding an extra religious dimension to an already densely packed sociopolitical soap opera, Costa tells a rich story here about the fuzzy line between democracy and theocracy, clashing spiritual values and inflammatory culture-war rhetoric.

Building slowly, the story morphs into a thriller, and finally a sort of horror film, though these parts feel more like decent imitations than real genre work.

For casually curious viewers, Scream of My Blood is a fast-moving, well-crafted primer on the band, light on background detail but generally compelling.

As it gathers to its grim conclusion with the inevitability of Greek tragedy, The Black Guelph becomes a quietly furious critique of power, corruption and lies among Ireland’s elites, from the police to the church to the upper echelons of government.

Not every joke hits the target, and not every thematic tangent is fruitfully explored, but a stellar cast and lively pacing lend comic force to even the weaker lines.

The second English-language feature by Berlin-based Brazilian director Karim Aïnouz (Futuro Beach, Motel Destino, Firebrand) is shallow and lurid and not entirely coherent. Even so, it is loaded with enough visual brio, acrid wit and WTF plot twists to hit the target as a surreal, salacious guilty pleasure.

To bring up an issue that arose when Joaquin Phoenix flaked on Todd Haynes’ latest project — is this any way to spend two years of an artist’s prime period?

What one remembers most from All of a Sudden is the uniqueness of the women’s relationship and their shining embrace of human rights — not just emotionally, but with their minds.

Clearly Aïnouz wanted to leave his mark on this alien genre, but Tudor-watchers may part ways with several characterizations, especially that of Katherine herself, updated as a political reformist and arch-feminist by a serious-looking Alicia Vikander.

Stripped of the twists and surprises that made the first one such a sleeper hit, this sequel nonetheless delivers breezy, bone-crushing entertainment for undemanding late-summer audiences.

The wisecracks could be wiser, admittedly, but there’s nothing terribly wrong with this airy, utterly innocuous, still charming Mother’s Day treat.

Bloodlines reminds us of why these hilarious horrors have been such crowd-pleasers, and why their creators might never call it quits.

If contemporary American cinema insists on having its cake and eating it when it comes to mixing the sour and the sweet, at least a film like No Hard Feelings spotlights the ability of an actor like Lawrence to deliver both with complete sincerity.

The slime and the shadows and the silences are back. Horror DNA is honored rather than pointlessly duplicated. This time, at least, IP familiarity breeds contentment.

One imagines screenwriter Shay Hatten (Rebel Moon) spinning a big Wheel of Weapons that would land on “hand grenades” or “flame-thrower” or “dishware,” leading him to craft novel ways for de Armas to implement these deadly items. The fight scenes are all Ballerina has going for it, but they’re frequent, varied, and clever enough to make watching the film a worthy summer pastime.

TRON: Ares throws in a few half-baked ideas about ethics in the tech world, but its main agenda is to be big, loud, fast, and eye-popping, and on that level — and only that level — it’s a complete success.

Is Song Sung Blue shamelessly manipulative in its assault on audiences’ tear ducts and heart strings? Absolutely. Will those qualities make it a whipping boy for contemporary reviews like this one while also turning it into a beloved classic in years to come? It’s entirely possible. Like those Neil Diamond songs, this movie might have a moment where it’s considered a joke or an embarrassment, but eventually, people will come clean about how much they love it.

If Hollywood insists on continuing its own separate monsterverse, it could do worse than GxK, a film where giant beasts wallop the tar out of each other with thrilling efficacy.

Director and co-writer James Cameron has a lot to say about colonization and guns and the environment and, while that messaging is noble and right-minded, it’s delivered with blunt force. The 3D here is stunning, but the metaphors come at your face with the same propulsion as the images.

Transformers: Rise of the Beasts defibrillates a moribund franchise; the patient may not quite be up and running, but it’s standing more solidly than it did before.

Perfect Days turns out to be a surprisingly charming, haunting, moving work with deliberate echoes of Japanese cinema legend Yasujiro Ozu.

Glossy and gripping, Czech director Robert Hloz’s ambitious and impressively polished debut feature boasts high-calibre production design and a dense, twist-heavy, techno-dystopian plot that feels at times like an extended episode of the cult Netflix series Black Mirror.