The Globe and Mail (Toronto)

There are numbers available in the film, and there are numbers available elsewhere – it is, as ever, left to each viewer as to how they would like to tally the metrics of the dead. But as a work of documentary cinema, a production that must synthesize the potency of art and the rigours of journalism, NAZA offers a devastating equation that demands attention from eyes within Israel and outside of it. We can see everything, if we want to.

The new horror film Beware Boiúna is only sporadically a good, stupid time at the movies. Come to think of it, the movie is much like a deadly Brazilian anaconda: equal parts terrifying, gross and way, way too long.

Really, it’s just incoherent, the ultimate revelations exposing how little sense these characters and their actions make, which we wouldn’t be dwelling on so much if Verity at least knew how to be sexy or intriguing, or have more fun, along the way.

Cruise has mistaken Iñárritu as a trusted collaborator of great depth and dimensions, when the director is instead simply a man of heaving weight, immovable and unyielding.

Wilson’s film feels like a puzzle that is being pieced together in real time, right in front of you. Not every fragment fits so neatly with the other, but that is also part of the movie’s significant charm. Wilson is trying his very best to make sense of the world, and he seems to genuinely hope that his work will help you understand something new about yourself and your environment, too.

Aping Hansen’s gentle but confrontational voice with creepy perfection, Pattinson plays the journalist as a man of sweaty and epic desperation, part media-circus carnival barker and part tortured freak of the week. It is the performance of the year, demanding recognition.

This is a Resident Evil movie that exploits the elements of the game that naturally translate to the cinematic form (namely, loud action and squishy violence) but adds a crucial layer that PlayStation, and the Anderson/Jovovich team, never fully considered: comedy.

A strange and unwieldly film, the production largely plays to Greengrass’s worst instincts, even if there are flashes of inspiration in the margins.

Are the best 45 minutes of an action movie in ages enough to save the other 111? That will be the litmus test for adrenaline junkies who are walking into Hope, the sometimes impressive but more frequently maddening epic from South Korean Na Hong-jin.

A rip-roaringly paced, imaginatively shot buddy comedy that feels inspired by just enough rewatches of Top Gun, Black Rain and Red Heat without feeling completely redundant, Mayday plays to everyone’s strengths.