The Globe and Mail (Toronto)

While there’s something admirable about Girls Like Girls and its refusal to tidy up the mess of queer adolescence (the film will no doubt be an instant classic for young sapphics), it unfortunately never deepens into something fully realized. It only gestures toward the feeling and atmosphere of emotional complexity, rather than materializing its substance in full.

Toy Story 5 is the must-have item of the summer: a poignant, beautiful, imaginative and massively entertaining adventure for anyone who either has children or retains a semblance of memories from their own youth.

There is something stubbornly singular about director Adrian Chiarella’s film that resists easy comparisons to the likes of Obsession and Backrooms.

Jackman, no slouch when it comes to playing men reckoning with the trail of dead they’ve left in their wake, is a godsend in the title role. Much like Cage’s sheer unpredictability elevated every moment of Pig, so, too, does Jackman’s eternally sturdy on-screen presence, even if his calm is meant to underline barely contained bloodlust, keep this version of Robin from becoming just another outlaw staring down fate.

There are enough holy-mother-of-god moments in the new martial-arts extravaganza The Furious during which your brain will melt so rapidly you’ll have to wipe your shirt of any grey matter seeping through your ears.

At its very best, which is not infrequently, Disclosure Day delivers the kind of eye-popping, heart-racing wonder that Spielberg has become synonymous with.

What is far more unsettling than the environment itself, though, is how tedious the excursion winds up being, going from freaky to sleepy in the span of an hour. Once you’ve seen one of the backrooms, which begin to resemble a Leon’s showroom rendered by M.C. Escher, then you’ve seen them all.

Pressure serves as a reminder of the many stories and individuals whose expertise and fortitude created the world we enjoy today. It also gives voice to the slim margins by which the war was decided. Perhaps the greatest act of service Pressure lends audiences, though, is the reflection of what all the sacrifices, violence and destruction was for.

A ferociously slick and rhythmically entertaining heist thriller, the movie feels like a breath of fresh air not only for the independent film space, where genuinely new ideas are a bitcoin a dozen, but for a filmmaker who seems completely, utterly, blessedly incapable of sitting still.

While a thrilling watch at many moments, there is also an overwhelming sense that politics and characters of I Love Boosters are struggling to find their full expression against the weight of the film’s undeniably spirited ambition.