Deli Man (2014): written and directed by Erik Anjou: Thoroughly enjoyable documentary about the rise and fall of the Jewish deli in North America (well, Canada and the United States, anyway). Extremely tasty and surprisingly nourishing, though Montreal is a no-show (but Toronto does show up). The story of present-day Deli Man Ziggy Gruber, who "co-owns a large deli in Houston and is also the grandson of the original owner of the Rialto Deli, the first Kosher deli to open on Broadway in New York City in the 1920s," (IMDB) unifies the documentary's narrative. He's an interesting fella. Highly recommended.
Becoming Cary Grant (2017): written and directed by Mark Kidel and Nick Ware: While this documentary gets a bit too arty at times (and could use a lot more captioning to explain who people are in photographs and home-movie clips), it's still a captivating look at the life and work of Cary Grant (born Archie Leach in England). While there are interviews with critics, historians, friends, and family members, most of the heavy lifting is done by Jonathan Pryce reading sections from Grant's never-published autobiography. It's fascinating stuff, augmented by the fact that Grant found success in LSD-aided therapy. Recommended.
Morgan (2016): written by Seth Owen; directed by Luke Scott; starring Kate Mara (Lee Weathers), Anya Taylor-Joy (Morgan), Rose Leslie (Amy), Toby Jones (Ziegler), Paul Giamatti (Shapiro), Michelle Yeoh (Dr. Cheng), and Boyd Holbrook (Skip): Or, Ex Machina for Dummies. Nothing in this 'AI seeks to escape its creators by any means necessary' film makes much sense if examined too closely, from the convenient;y breakable glass skylight in the AI's cell to the idea that a major corporation would have scientists developing super-dangerous, super-expensive super-soldiers without having lots of supervision and security on-site. Kate Mara elevates the material with her performance as a security wetwork specialist sent to clean things up at the rustic mansion of a lab, as does Anya Taylor-Joy (The Witch) as the eponymous Morgan. But it's pretty dumb, though it marks the directorial debut of Ridley Scott's son, Luke. Not recommended.