The Film Verdict

In 2026, it’s hard out here for a toy — whether you’re an action figure or a dinosaur or a horse or even a plastic fork — what with all the screens sucking all the attention out of kids. And it’s that real-world dilemma that Toy Story 5 tackles with both wit and wisdom.

Juggling slapstick humour, political critique, trigger-happy action and surreal tangents, Dead Souls does not always hang together comfortably. Cox has made better films, but this offbeat frontier fable is still a charmingly eccentric, mischievous late-career effort with an impressively strong authorial voice.

Spielberg’s West Side Story demonstrated that the old master still has exciting work in him when he chooses to tackle a genre that’s new to him. But like Ready Player One and The Fabelmans before it, Disclosure Day reveals an artist spinning his wheels when he digs back into his own past triumphs.

While the film delivers a fair share of laughs, its barrage of references to recent hit movies calls to mind Pauline Kael’s dismissal of Mel Brooks’ High Anxiety: “This is a child’s idea of satire — imitations, with a funny hat and a leer.”

With connective tissue linking it to both Skinamarink and Synecdoche, New York, Backrooms is a chillingly ambitious debut that finds the terror in enclosed spaces and echoing silences. It’s a screen nightmare that could easily work its way into viewers’ real ones.

Emmanuel Marre’s A Man of His Time uncovers the banality of evil at the very heart of the Vichy government, among the morally-lacking under-secretaries of Marshal Pétain’s cabinet.

For Favreau, philosophy and world-building is obviously the stuff of the TV show; now that it’s a movie, it’s time for fun and thrills.

What one remembers most from All of a Sudden is the uniqueness of the women’s relationship and their shining embrace of human rights — not just emotionally, but with their minds.

If the film works at all it is thanks to the exceptional craftsmanship of its camerawork, editing, and acting, under the direction of Asghar Farhadi.

Minor quibbles aside, Pawlikowski has delivered a gorgeous poem of a film, a mournful meditation on national identity, private and public tragedy, the dangers of trying to remain apolitical in deeply political times, and the enduring cultural riches that can offer small but crucial solace in apocalyptic times.