Matt Johnson deconstructs – and complicates – the very nature of biopics by drawing a tragic portrait of Anthony Bourdain’s youth in the masterful ‘Tony’.

Kristen Stewart and Alia Shawkat pair up for the year’s best hangout movie with ‘The Wrong Girls’, a movie that functions best when you don’t try to think about it too much.

Despite an incredible lead performance from Haruka Ayase, fillmmaker Hirokazu Kore-eda struggles to translate many ideas on screen in ‘Sheep in the Box’, making it a massive misstep for the prolific Japanese auteur.

While the laughs may not flow as much as the first two films in the franchise, the Broken Lizard crew still gives us a hefty dose of shenanigans with ‘Super Troopers 3’.

Eli Roth’s name being attached to ‘Ice Cream Man’ will be enough to grab the attention of many horror fans. But while critics most often fail to connect with his work, Roth’s diehard fans have long jumped in front of the sword to defend him. Ice Cream Man may change all that.

Despite an alluring visual language and decent performances from both Pascale Bussières and François Arnaud, filmmaker Wiebke von Carolsfeld’s ‘Someone’s Daughter’ seems afraid to explore the central topic at the heart of the movie.

While Seidi Haarla gives filmmaker Hannah Bergholm’s ‘Nightborn’ a real dramatic heft, this Cheval Noir-award winning picture quickly bludgeons the audience with the same old tropes, ideas and irritating shrieks that ultimately signify nothing.

Tom Holland’s wall-crawler is back on the big screen yet again in ‘Spider-Man: Brand New Day’, an installment that is not only the best entry in the series yet, but one of the best Spider-Man films - period.

Thanks to its committed performances and an impeccably controlled aesthetic palette, director Nicky Murphy gives us a mockumentary for the ages in ‘I Love Paris’, which can even put What We Do In the Shadows to shame.

While not without its flaws, filmmaker Corrin Evans strikes the screen with the aesthetically invigorating and thematically rich ‘Corpus’, one of the major highlights of this year’s Fantasia Cheval Noir section.

While brief, Makoto Ueda crafts a highly playful meta-comedy with ‘You Are the Film’ and awakens our innate love of cinema as a unifying art form.

Refn, the renowned Danish auteur’s returns with his first feature film in a decade, coupled with his signature impressionism in ‘Her Private Hell’.

Jane Schoenbrun tackles a lot in ‘Teenage Sex and Death at Camp Miasma’ that it almost feels like it’s going to collapse in on itself, until it doesn’t and opens up in ways you never expected from the outset.

In yet another display of Christopher Nolan’s ambition, this latest film adaptation of ‘The Odyssey’ marks a new high in Nolan’s already impressive filmography.

While Mark Jenkin continues his signature visual language and draws career-best performances from Callum Turner and George MacKay, the overall experience of ‘Rose of Nevada’ confounds more than it illuminates.

Olivia Wilde’s latest directorial effort ‘The Invite’ is just as hilarious as it is impressive, making for one of the year’s best.

The chaotic Minions are back for the third instalment in their franchise with ‘Minions & Monsters’, a surprisingly charming adventure that lovingly pays homage to the golden age of Hollywood.

While imperfect in its structure, Carla Simón manages to pull us into a devastating portrait of a young woman searching for the truth amid a fractured family with ‘Romería’.

Short, sweet, and blending the old with the new, ‘Jackass: Best and Last’ is less swan song and more victory lap. Longtime fans and new viewers alike will find a lot to appreciate in this theatrical riot.