As its attention-grabbing title suggests, Everything Everywhere All at Once is a supercharged, sense-swamping, overstuffed feast of a movie.

The latest sci-fi horror fable from Canadian writer-director Brandon Cronenberg is his most deliciously dark, richly allegorical nightmare vision to date. A bleakly satirical, sexually graphic, hallucinatory thriller about wealthy tourists resorting to debauched savagery in a fictional foreign country,

Harrison Ford's fond farewell to maverick tomb raider Indiana Jones balances formulaic blockbuster elements with soulful nostalgia and an audacious time-jumping plot.

The pièce de résistance of unabashed culinary cinema, Tran Anh Hung’s The Pot au Feu serves up a French country idyll in romantic 19th century sauce for audiences whose tastes run to the fine wines and 12-course meals.

It’s not very clear if the director-actor-writer-producer has anything vitally important to add to his filmography in this narratively complex, generally downbeat work. What comes through most strongly is a striking sense of loss and disappointment in the character he plays, an aging man whose despair seems very personal and tinges the whole film (which is theoretically a Morettian comedy) with sadness and bitter farewells.

A gripping drama -- almost a mystery -- about ordinary people from Japanese master Kore-eda Hirokazu connects to viewers, despite an ambiguous ending that feels overly complex and arty.

Kidnapped (Rapito) is one of Marco Bellocchio’s most successful films, both as a taut thriller that will capture audiences with his terribly human drama, and as a masterful reflection on the themes that the Italian director has worried and revisited over a lifetime of filmmaking: the Catholic church as an anti-liberal indoctrinating machine that steals children’s souls, the frailty of personal identity, and the struggle for liberation on an individual and societal level.

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.

“Mexico for me is a state of mind,” Iñárritu has said, and Bardo is his own idiosyncratic vision of it. It is a handsomely produced creation in which the director has clearly exercised great control and his stamp is to be found on almost every credit.

An atypically told, but typically big-issue film from revered Spanish maestro Victor Erice, Close Your Eyes is a passionate and engaging reflection on art, memory, identity and recapturing time past.

Steering away from exaggerated drama and concentrating most of the scenes on the little girl and her mother Ane (emerging Spanish actress Patricia Lopez Arnalz), 20,000 Species of Bees (20.000 especies de abejas) opens audiences up to a new understanding of trans kids, especially the idea that it is not the child who needs to transition, it’s the family and society who need to change their perceptions.

A throwback to an era when “summer movies” represented something distinct from what studios produced for the other nine months of the year, Dead Reckoning offers 163 minutes’ worth of adrenaline and excitement that never overstays its welcome.

For all its potential, Ruby Gillman: Teenage Kraken remains stuck in the shallow end.

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.

One of the film’s best features is that it does a minimum of seeding the ground for the next five MCU sequels; one of its worst is that it generates little enthusiasm for ever seeing these characters again.

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

What we’re left with is an unromantic romance that’s as generic and forgettable as its title.

If you’re still on board for what these movies have to offer — and the global box office indicates that quite a few people are — Fast X deliriously overdelivers its delights.

While it’s still an exercise in re-branding and revenue, the results at least provide some dazzle, some romance, and a handful of pretty good new songs with lyrics by Lin-Manuel Miranda.

Across the Spider-Verse is a breathtaking whirligig of a superhero saga, spanning multiple realities without ever losing its emotional tether.

If The Flash proves anything, it’s that the fans won, and that’s a loss for everyone else.

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.