Deadpool

2016, US, directed by Tim Miller

D.O.A.

1950, US, directed by Rudolph Maté

A noir with an intriguing narrative strategy, beginning, indelibly, with the protagonist reporting his own murder to the police, before the film switches to flashback mode to fill in the gaps in our understanding. These prove to be many and varied in this rather byzantine plot centered on an incriminating document related to the sale of a quantity of iridium, with our protagonist, Edmond O'Brien, simultaneously trying to unravel his own murder while doing what he can to manage his medical situation. O'Brien plays the role with a suitable sense of urgency, although director Rudolph Maté sometimes undercuts the gathering tension by intercutting conversations with O'Brien's secretary and love interest that don't seem to materially advance the plotline to any great degree. Still, a fine, mostly brisk noir suffused with the sense of paranoia that we've come to associate with the time period/genre.

How to Lose a Guy in 10 Days

2003, US, directed by Donald Petrie

Moana

2016, US, directed by Ron Clements and John Musker

Pete's Dragon

2016, US, directed by David Lowery

Moonlight

2016, US, directed by Barry Jenkins

La La Land

2016, US, directed by Damien Chazelle

The Young Offenders

2016, Ireland, directed by Peter Foott

A very funny first feature from Peter Foott that captures some of the same blend of comedy/affection of the British TV show/films The Inbetweeners infused with a very mild dose of the pathos of Adam and Paul, the film focuses on a pair of ne'er-do-wells who concoct an outlandishly naive get-rich-quick scheme. It's essentially a road movie, on bikes around West Cork rather than in cars across the American West, and while the script is often extremely amusing, it's the chemistry between the leads that really elevates the material; it's no surprise to discover that the film has spawned a TV series in an attempt to re-capture the magic.

The Accountant

2016, US, directed by Gavin O'Connor

Eyes in the Night

1942, US, directed by Fred Zinnemann

An early Zinnemann, featuring a blind detective and his duo of assistants -- one canine, one wisecracking 1940s character actor -- solving a very of-its-time wartime murder caper with a dash of Nazi spy intrigue. Despite the unusual detective trio, there's little memorable on offer here -- this looks and feels like a straightforward programmer.