After two decades of heavy anticipation, fans will finally be able to feast their eyes on ‘The Devil Wears Prada 2’, a sequel that may not reach the dizzying heights of its beloved predecessor, but brings with it plenty of glitz, glamour, and entertainment value.

Thanks to heartfelt performances from Robert Aramayo, Maxine Peake, and Peter Mullan, Kirk Jones’ ‘I Swear’ overcomes its clear Ken Loach visual inspirations and draws an uplifting portrait of finding purpose in raising awareness of the difficulties of Tourette’s syndrome.

‘Hokum’ crafts a cinematic Irish folktale and brings it into modern day, but regardless of the title, there’s no ‘hogwash’ to be found in terms of the fear director Damian McCarthy creates.

A litany of music icons have had their day in the sun, but now it’s time for the King of Pop to take center stage in ‘Michael’, the highly anticipated biopic starring Jaafar Jackson. Though this story of Michael Jackson may play things too safe for its own good, there’s no denying the sheer entertainment value it brings to the table.

Chandler Levack celebrates the vibrancy of Montreal with her lovingly constructed ‘Mile End Kicks’, despite screenwriting and pacing issues that prevent the film from being a memorable tribute to the city. 

While more commercial than her previous films, Chandler Levack’s humanist touch seeps through every aspect of her funny and achingly moving ‘Roommates’, anchored by two brilliant performances from Sadie Sandler and Chloe East.

Lee Cronin may be slightly inspired by Sam Raimi's work in his take on ‘The Mummy’, but his film remains playful and appropriately disturbing, taking audiences in frequently unexpected directions.

Sofia Coppola doesn’t pretend to be objective in her portrait of Marc Jacobs in ‘Marc by Sofia’, and the film benefits from her subjective perspective on the iconic fashion designer.

Arguably, ‘The Super Mario Galaxy Movie’ may do its job, entertaining fans and younger viewers, but it lacks a heart, and ultimately just doesn’t feel worth the price of admission. At the end of the day, playing these games may be time better spent, allowing viewers to instead immerse themselves as players.

Directors Daniel Roher and Charlie Tyrrell offer a pragmatic vision of our potential Artificial Intelligence-dominated future with ‘The AI Doc: Or How I Became an Apocaloptimist’, even if it doesn’t go deep enough.

Vicky Jewson’s ‘Pretty Lethal’ squanders an interesting premise with paper-thin characters, dull performances, and poorly staged action.

Thanks to its masterful framing and an impeccable lead performance from Aleksandr Kuznetsov, Sergei Loznitsa’s ‘Two Prosecutors’ overcomes its rather telegraphed conclusion and its alienating structure to become a powerful historical drama that asks its audience not to forget.

It’s violent and silly enough to be mildly entertaining, although it’s punching below the original’s previously set standards. Ready or Not 2: Here I Come tries and fails to go big, and goes home as a reminder that less is more.

Directors Phil Lord and Christopher Miller are back at it again, this time adapting Andy Weir’s beloved novel ‘Project Hail Mary’, delivering a miraculously well-made sci-fi adventure that is as ceaselessly entertaining as it is achingly hopeful.

Writer/director Maggie Gyllenhaal takes aim at Mary Shelley’s beloved Frankenstein, with ‘The Bride!’ delivering her own inspired riff on the source material that while bold, audacious and singular, swings for the fences with an audible whiff.

What happens when three nuns and a young boy go on a journey across New Zealand? You get one of the best indie movies of the year in ‘Holy Days’.

Michel Franco’s ‘Dreams’ fails to meet the moment with a mostly empty erotic drama that takes a repulsive turn near its allegedly shocking denouement.

Ghostface and his iconic getup are back to terrorize Sidney Prescott yet again in ‘Scream 7’ - a fierce, fun, but ultimately messy sequel that shows a franchise that is beginning to show signs of wear and tear.

Awful in almost every conceivable way, ‘Psycho Killer’ is a note-perfect exercise in screwing things up from the get-go and never recovering as it trudges through a ridiculously inert conclusion.

Writer/director John Patton Ford returns with ’How To Make A Killing’, a deliciously entertaining tale of how the pursuit of money and status can corrupt and poison, which showcases yet another stellar turn from Glen Powell.