Meghie’s films don’t conform to conventional plot structure; her approach is more musical, more fluid. As a result, her rhythms are sometimes a little off, as the plot wanders down this or that detour. On the plus side, she makes time for naturalistic conversations.

The movie was partially shot in beautiful British Columbia. And Carrey brings a madcap mashup of his previous avatars to this turn as Dr. Robotnik.

Despite the film’s laudatory tone, a portrait of Foster is competently painted by the veteran documentarian Avrich.

As the frequency of this particular nightmare ratchets up in volume, The Antenna proves a worthy successor to the work of David Cronenberg, Ben Wheatley and the many other filmmakers who delight in the meaty material of rancid subjects.

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.

In writer-director Keith Thomas’s bid to add a layer of thematic novelty to a familiar genre, he has come up with a mish-mash that will satisfy only those with extremely acquired tastes.

A film I had to watch with my hands over my face at times. Part horror, suspense thriller and comedy, Come to Daddy gives us some very creative mutilation, plenty of second-hand embarrassment and laughs in a perfectly paced hour and a half.

The Traitor is an exploration of betrayal, according to Bellocchio. He seems to be asking, can a man truly change the course of his life, or is it just a pretense? Unfortunately, this account of Buscetta’s story doesn’t really give us any answers.

The film succeeds in showing how men with power can openly do essentially whatever they want as long as their company is successful, but it still left me wanting something more.

Underneath this clangy, pounding, speedy, thin, energetic confetti-shower of a movie is a collection of missed opportunities begging to be noticed.

Director Maggs tells a tough, sympathetic story in an imaginative way that makes Goalie feel like a war story.

Rabid is a limp satire with a lacklustre female protagonist, and this shallow remake of a cannibalistic rabies attack film barely leaves a mark.

Given the affordable-housing crisis in Canadian cities such as Toronto and Vancouver, there’s a lot to relate to in Rosie. One can only hope that if caught in a similar situation, one has Rosie’s grace to keep going.

Hikari’s work is well-meaning, and Kayama delivers an affecting, but not affected, performance that almost holds the story together. Eventually, though, the film loses confidence in itself.

It is fun, though, to spot the differences a female director brings to the genre.

Balagov displays the cinematic skills of an auteur at least twice his age, and both lead actresses are captivating – an especially remarkable feat given that neither had acted on-screen before. Yet as Balagov peels back the layers of Iya and Masha’s stories, Beanpole feels less like a deep cut and more like a scratch.

Everything about Gretel & Hansel is weirder, smarter and way more cinematic than I’d expected, thanks to some fascinating movie choices made by director Oz Perkins.

Panga’s strength lies in its capable cast, which brings heart to a largely contrived script that tells more than it shows.

The stellar cast manages to dignify some of it. And it’s the grizzled war veterans’ experiences that stay with you afterwards, the personal demons they keep on fighting.

Past the surface flaws of Color Out of Space, there are shiny Cage diamonds to be found.

The pacing is steady. The stories are told simply, with zero affectation or buildup by the director. The effect is astonishing.

Finally, there’s Colin Farrell, who plays a boxing coach called Coach, who tries to keep his Jamaican-English charges on, if not the straight and narrow, the straighter and narrower. He and his lads all wear plaid tracksuits, and it’s a testament to Farrell that he makes this feel entirely natural rather than stunty. He is an underrated master who can do no wrong, and I wish this movie starred him.

This film’s charm – and it does have some – lies in the fun it has with Smith and Lawrence’s aging.

If the muddled plot and aesthetic chaos of Dolittle leaves a bitter taste in your mouth, seek the antidote – an episode of "Planet Earth."

In the final act, cops and street children fight a desperate battle in an abandoned apartment block. It’s a metaphor, but it’s earned.

This is a film with an unforgettable story and performances that will edge into your DNA.

The state of modern criticism has never been so splintered. We create harsher and harsher binaries in our online response to cinema every day, so reading Kael can make you go, “Hey, remember pleasure?” While Garver’s documentary isn’t worthy of its subject’s fascinating artistic legacy, I anxiously await the one that is.

The finale is a gut-punch, but it arrives too long after Komasa has already exhausted most of his story's, and leading man's, energy.