Summerland may not be the greatest show on Earth, but it is firmly Arterton’s show – and deserves more attention than most anyone on these shores will likely give it.

The One and Only Ivan elevates its babbling baboons and erudite elephants to a level of graceful storytelling and emotional catharsis. The film might only be available to stream in the emptiness of your own home, but it has enough big-screen ambition that you can easily imagine it holding an entire theatre’s audience rapt.

The thin premise is just an excuse for an ultra-violent film. Worse, with the final scene, the suggestion is made that all the mayhem was the woman’s fault. Unhinged falls down in the worst ways possible.

Most of the film’s action happens at night, so we really don’t get a good look at the colourful city. Why hire New Orleans as a location if you’re not going to show it off?

However, for me and my two kids (aged 10 and eight), this dive into the deep sea wasn’t as thrilling an adventure as we’d hoped for.

Politicians are craven and driven by all the wrong reasons, and though the pair uncover a handful of hopeful voices – especially Ben Feinstein, a compassionate and committed idealist – you will likely exit the world of Boys State as cynical as you entered it.

While Spinster works well enough as a showcase for Peretti’s talents, Dorfman never matches the power of her star. With a bare-bones production design and most of its scenes blocked in a pedestrian manner, Spinster looks like a TV show that simply goes on too long.

The latest adaptation of Frances Hodgson Burnett’s 1911 novel is not necessarily a bad film, just an unnecessary one. Given that we’ve already been treated to about a dozen film and TV (and anime!) adaptations, there is little that Munden and his creative team offer that is essential.

The characters aren’t compelling, the comedy isn’t energetic, and the narrative surprises that Rey throws at the screen will be obvious to anyone who has ever heard the word “Sundance.”

In its cautious rhythm, its economical storytelling and its deliberately over-the-top colour scheme – each character’s “infection,” so to speak, is back-lit by deeply saturated red and blues – She Dies Tomorrow unsettles without using any of cinema’s typical tools.

The international cast manage to acquit themselves fine enough, with Jagger in particular having a ball as an energetic rapscallion.

While Rich’s script misses a few trickier opportunities to further dig into questions of religion and history – Herschel sleeps his way through the entirety of the Second World War, yet there’s never any discussion of how the Holocaust has irrevocably changed the world he wakes up in – An American Pickle is a movie that your bubbe will love.

Perhaps sensing that the rest of his story - mostly focusing around the earnest do-goodery of Golja's aide - falls emotionally flat, Navarretta lavishes attention on his two marquee players, creating tiny moments of poignancy.

This is a well-crafted, Bechdel-passing film that prioritizes an intersectional female friendship, yet Lilly remains nothing but our Trojan horse into the 1980s Ethiopian refugee crisis.

There is not much more you could ask of a Canadian thriller, even if the director lets the Thailand-set portions of the film devolve slightly into clichéd Brokedown Palace territory.

White Lie is a wildly entertaining ride.

Given that his movie never gives us an opportunity to understand who these men are, it is hard to mourn them beyond a superficial fashion.

Fatal Affair will live up to the first half of its name, and you’ll be bored to death.

“SEE THE MOVIE THAT NO AUDIENCE CAN OUTLAST!” – after actually taking in The Painted Bird, I can confirm that the horror more or less matches the headlines.

But Schneider, whose only other directing credit is the extremely low-key 2009 family drama "Get Low," finds a way to portray the nautical action with clarity and precision. You might not know what Krause and his crew are saying at all times, but you definitely know what they’re witnessing.

Maybe Rapoport’s script from way back when was fiercer, sharper, and funnier, and the sands of time have simply eroded any of its interesting edges down to mere nubs of gross-out nothingness. But watching it today on Netflix, it can’t help but feel highly algorithmic.

There are a few scenes where Theron is an inch away from completely rewriting the proceedings – she just needs a slight jolt in the right direction from her director, a nudge toward chaos. But filmmaker Gina Prince-Bythewood never quite delivers the inspirational spark her star needs to unleash such fury, and the resulting antics rest somewhere between spectacle and shoulder-shrug.

This is a tremendously entertaining trip through the births of both America and the musical form, with each institution given a lightly revisionist torque by Miranda, who approaches the material with a scholar’s dedication to detail and a showman’s slick wit.

Regrettably, and predictably, Force of Nature isn’t interestingly bad – it’s just bad.

Listen, Will: The film, your first with streaming giant Netflix (which maybe says something about the state of your brand of big-screen comedies, or maybe not), isn’t a total disaster. There are moments where you and Dobkin embrace the surreal . . . that hint at a better, more interesting kind of absurdist comedy.

Typically, Whitaker can lend the sloppiest assignment some much-needed dignity, but here he gives far more than the easy and lazy script ever demands, so much so that you begin to feel sorry that he took the time and energy to do so.

With lesser performers, too, maybe Hammer would have felt more like a gag. Yet O’Brien, fresh off a tremendous and under-seen performance in last year’s "Goalie," radiates nervy energy like it was the most natural thing in the world, while longtime character actor Patton gives his wary patriarch an urgent, unshakable sense of disappointment and unease. It’s almost worth eating your own tail over.

Irresistible is toothless, it is weak-willed and it is depressingly unaware of either of these facts. If this is indeed Stewart’s response to the madness of the Trump era, then we should all be glad that he decided to depart The Daily Show when he did. It is clear that he didn’t have anything left to say.