Starring De Niro and Bobby Cannavale as two generations of “whaddya talking about!?” Noo Yawkers and directed by sometimes actor Tony Goldwyn, so much of Ezra feels like a “favour” film – a good excuse for a well-liked director to persuade friends to hang out with each other for a few weeks of shooting, without delivering something worthy of their collected talents.

The film is a level-headed look at artists who promoted joy but lost their own.

This is action cinema filtered through the thousand pile-on details of a serialized Dickens novel, grand and seismic. And when the action sequences do arrive, they are glorious.

Linklater knows exactly the power that his leading man commands, but instead of lazily exploiting it off the top, the director reverse-engineers a charm offensive so earth-shaking that it registers on the Richter scale.

This new Garfield outing is a true feat in shoulder-shrugging nothingness.

While it’s not as much of a slow-burn of psychological torture as Bertino’s original, Chapter 1 sticks to the course and doesn’t let up on its lead characters once.

It is at once a singular piece of pop-cult art, delivered with the brash confidence of a filmmaker who has either been told “no” too many times or not enough, and a film that could not exist without the contributions of Cronenberg and a dozen of his contemporaries and acolytes (including Donnie Darko’s Richard Kelly), their midnight visions co-opted by Schoenbrun into one slickly nostalgic neon-lit nightmare.

The Burning Season offers a fresh and heart-wrenching take on the collisions of love, betrayal and personal tragedy.

The tenderest thing Taylor-Johnson does in Back to Black is remind us how very young Winehouse was when she wowed the world.

Kingdom of the Planet of the Apes is a fun enough distraction.

However you choose to interpret it, Evil Does Not Exist lingers, magnificently and furiously.

It’s not about nothing, but it is nothing special.

Whenever the camera is on Hathaway, which is almost always, the film feels a hundred times more rich and substantive.

The film’s most egregious misstep, though, is sabotaging its own best stunt: the high-wire chemistry between Gosling and Blunt.

As much as Occupied City’s observational eye is rooted in a humanistic and cumulative approach to history, it will, no doubt, leave those in search of a less austere approach wanting.

it’s a cheeky post-Deadpool comedy – irreverent to a fault – with grindhouse aesthetics that tend to feel inspired by Quentin Tarantino rather than the movies that inspired Quentin Tarantino.

This is a startlingly entertaining, erotically charged movie that hits its many targets with a kind of ferocious and crazed accuracy that’ll knock the wind, among other things, right out of you.

Cronenberg offers a light touch to the material, spiking the deeply depressing dystopia with a sibling-rivalry battle royale that eagerly, if sometimes wobblily, shifts between sharp humour and slippery sentimentality.

Weaving in footage from Lucian Bratu’s 1981 film Angela Moves On (a melodrama following a female taxi driver and set during the heart of Nicolae Ceausescu’s crushing reign in Romania), and capped off by an extended movie-within-a-movie contained in one static shot, Jude’s film is an ambitious experiment of the mad-science variety.

Classical and ultramodern – Bonello closes things off with a QR code, of all things – The Beast is an experience both bold and rich.

In lesser hands, this chaos might tumble into melodrama or farce. But Stolevski’s actors deliver such naturalistic performances, and he writes such specific dialogue . . . that you care deeply about what happens to these people.

What I see is a social media influencer before social media, a person who did whatever it took to keep us looking, especially if that meant she didn’t have to look too deeply at herself.

Food, Inc. 2 follows the formula of its predecessor so closely, it’s difficult to understand why it was made at all.

When In Flames premiered at Cannes last year, I compared it with Ari Aster’s Hereditary, but suggested Kahn’s film has more heart and conviction. I stand by that.

Raw and electrically presented, Civil War is an ugly odyssey and an audacious premonition.

The movie takes its time to get going, which can be frustrating given how thin the material feels along the way. But that patience also works in its favour during a lovely final act that doesn’t come off as maudlin and forced as this sort of melodrama usually tends to.

Patel is not reinventing the wheel here, nor is he establishing a coherent visual language to build upon in future films, but Monkey Man is cleverly castigating and proud of its lineage – a digestible bit of mythmaking with knife work to boot.

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.