In truth, as this film observes more and more of his compelling oeuvre, the viewer becomes more engrossed in the art than its cinematic presentation and the 3-D effect seems to fade into the background, necessary rather than impressive.

[Kendrick] delivers a taut thriller that’s also a sharp critique of the casual misogyny women face.

Deeply playful while never falling for the more hoary tendencies of the genre – remarkably, Soderbergh seems to have invented a new way of filming a “jump scare” here – Presence keeps its audience close and tight, building to a finale that forces you to reconsider the entire experiment.

Too distanced to be called compassionate - the term can imply condescension - Working Girls is provocative, honest and disturbing. [15 May 1987]

It can be slow going, certainly, but it’s always rewarding. Pull up a chair, stay a while.

In keeping with Lucas’s general life philosophy, Mills’s film doesn’t attempt to paint a portrait of one woman, but rather a capturing of the land that woman calls home.

Using Toba Tek Singh as a recurring narrative device is sublime, for those who understand the reference and the burden it carries.

Bravo’s style echoes King’s own: It is fun and whimsical, formally playful, sometimes bordering on the fantastic but always grounded in the real and the intimate.

Despite the heavy material, the film manages to imbue the story with heart and even breakthrough moments of joy.

Girls State is a powerful documentary that showcases just how invested and determined young women are in their desire to run for the highest office – despite the challenges they face.

Sapochnik (Game of Thrones) wisely puts Hanks at the centre of nearly every scene, letting the actor’s ceaseless charisma carry audiences through the End Times. We attach ourselves to Finch partly because of the character, but also because we’re rooting for Hanks to escape the island, oops, I mean the apocalypse.

I’ve come around to Glass’s singular, purpose-filled vision – one that is intent on pushing its audience so far outside their comfort zones that you’d need a map to find your way back to baseline existence. Clark is also a wonder as the title character, playing a deluded and dangerous antihero with an unnerving zeal.

Vengeance Most Fowl is a cozy return to form that plaits together its own laboured conception and our mechanized conditions in order to enliven its signature duo among the youth of today.

The labour the filmmaker undertakes here is similarly personal and intimate; it is clearly an act of healing as well as an offering for others who see their lives echoed.

Think of one of Wiig’s closer-to-1 a.m. Saturday Night Live sketches coloured with the purposefully unpalatable aesthetic sensibilities of Tim and Eric Awesome Show, Great Job! and you’ll start to form the right picture. If none of the above appeals or even makes sense in the slightest, then feel free to run far, far away.

What struck me most about Spoiler Alert was its nuanced look at a loving relationship.

There are immense, leisurely pleasures to be found in The Courier, which presents a familiar spy-versus-spy drama in a familiar way. Which is fine: So long as you’re not expecting subversion or surprise, you can gently sink yourself into director Dominic Cooke’s intentionally, pleasantly lukewarm waters and come out the other side refreshed and squeaky-clean.

It's a pinball arcade of a flick -- the Coens invent a bunch of wonderfully flaky characters, stick them into a Plexiglas narrative, and let them bounce off each other.

It is tempting to compare her to Princess Diana, a narcissistic media manipulator on the one hand and a sensitive woman deeper than the icon she has created on the other. But Corsage is a work of fiction, and its main character is, thankfully, far more complicated and interesting than the real thing.

Wright has created a truly rich and vibrant world, full of dramatic sets. Most importantly, the film is genuinely fun, with enough of an emotional pull to justify some of its bigger swings.

Shang-Chi is a first, but it’s firstly fun to watch.

Living just doesn’t quite vault over its self-imposed challenges. Except, that is, when it comes to Nighy.

Of course, sexism in any realm is hardly shocking. But Lee presents her argument in such a clear and empathetic way that you’re not only enraged by the state of the genre, but how the women we meet are still fighting a fight that’s hurting us all.

As you get immersed in the story, you’re also entranced by a lovely escape to a nostalgic Italian summer that’s inspired by visits to real-life places and rendered in a style akin to that distinctive Miyazaki aesthetic. I also want to get my hands on the original score – the music soars gorgeously.

The movie is so across-the-board charming that even the most hardcore of socialists will find themselves rooting for Nike – that bastion of global corporate responsibility – to make gobs and gobs of money off the hard work of a young Black athlete.

Drawn, taut and nearly silent, Bullock convincingly creates a shell of wariness and self-protection, and then gradually lets it crack.

Clint Eastwood is still making movies at 94. That’s amazing. What’s more shocking is that Juror #2 is not just pretty good but arguably the Unforgiven director’s most satisfying work in well over a decade.

It’s not entirely fair to call I Swear a PSA for inclusion. Above all, it is the story of a man who overcame an extraordinary set of odds to build a simple but meaningful life for himself and foster understanding in others. Yet, you cannot help but hope that the film – and the events surrounding it – inspires us all to think about the messiness of life. And how making space for everyone might involve a degree of discomfort for us all. But we can all, ultimately, live with it.