Petrana Radulovic

It’s a quiet, contemplative movie where most of the driving forces are subtle and understated, made evocative by the animation, which is mostly grounded save for an occasional, deliberate splash of color.

Handcuffed by the photorealistic animation, which emphasizes high-res fidelity over expressionism, and the ties to The Lion King, which constantly remind viewers of the original masterpiece, Mufasa can never quite escape the Shadowlands.

The animation really anchors the movie, which otherwise feels a bit uneven, especially in terms of Anzu and Karin’s relationship.

Director Jon M. Chu blows away all expectations and deftly avoids the movie adaptation pitfalls that could’ve worked against Wicked. The movie celebrates its musical-ness, instead of begrudgingly accepting it. It’s nothing short of wonderful.

My Old Ass is about growing up — the joy, the pain, and those little moments that resonate with us far longer than we think they will — and Park smartly pulls it off by drawing on Elliott’s perspectives of both the past and the present.

Uglies winds up being yet another uninspired, forgettable entry in the deluge of YA dystopian movies that make my passionate defense of the genre such an uphill climb.

It’s a heartwarming, surprisingly poignant, movie that also makes its point by putting a variety of animals into natty human clothes.

Space Cadet is incredibly funny, but it’s also about someone pursuing a life she thought she’d missed out on, and finding her own strengths when she feels like she can’t measure up.

If you already have an investment in the franchise’s volleyball teams and characters, this movie hits. And boy does it capture the epic highs of the show. It’s likely to fully reignite the fandom once again.

Turtles has familiar John Green touchpoints — a gimmicky story setup, a teen romance, a quirky best friend — but it turns the story inward and pulls off a fantastic character exploration, one that feels like a gut-punch in its best moments.

Each half of the movie represents a different aspect of Spy x Family’s appeal, and each half is quite good for what it’s supposed to be. They just don’t gel together at feature length.

The movie is the perfect blend of silliness and serious, deep emotion that never becomes overstated, all told in bright, painted colors that deserve to be seen in theaters to experience their full glory.

After four movies, it isn’t really a surprise that the Kung Fu Panda machine is running out of steam — thankfully, though, it has just enough power left to churn out some genuine laughs at the end.

What starts out as a sweet fairy tale turns into a metatextual romp that spirals in and out of itself, and gets deeply weird and weirdly deep. Sean Charmatz’s debut animated feature is an odd little gem that defies expectations.

Even though this movie is sometimes haphazardly stitched together, like a dismembered hand added onto a corpse, Lisa Frankenstein is shocked back to life by magnetic visuals, engaging chemistry, and deliciously escalating motives.

It’s a movie made up of quiet moments: pauses in conversation, lingering glances, and outstretched hands. Lambert emphasizes the importance of these small interactions, and the ways they build up to connections. It’s a quiet story that aches in the best sort of way.

Bolstered by a (mostly) stellar cast, who make the iconic characters their own and show off their spectacular singing voices, Mean Girls is a fun little update, though it never transcends the experience of the original movie.

Wish is all about the twinkling star in the night sky, the one many a Disney hero has wished upon. Perfectly calibrated for that Disney magic! Except this movie is a little too perfectly calibrated.

It’s a sharp, exciting movie — one that finally gives YA dystopias the ending that the genre trend deserves.

Come for the fun gadgets and the kids saving the world, and stay for a message about recovery and kindness, delivered so earnestly that it isn’t saccharine at all.

The lead actors carry the film, and the individual scenes are strong, though it never quite captures the deep longing that is threaded throughout the original.

Branagh breaks all the adaptation rules. He smashes genres together. He goes fully over the top, which is exactly the direction that his Christie adaptations have been rolling toward. Branagh finally breaks free, making A Haunting in Venice the best entry in the series to date.

Bottoms strikes a balance: It’s a playful satire, and it’s also exactly the sort of film it’s making fun of.

It’s basically a checklist of the most beloved items from the Disney park attraction. But here’s the thing: It kinda works?

Just because Ariel falls in love doesn’t mean she’s not a strong and beloved protagonist, and just because Eric is a handsome and dashing prince doesn’t mean he lacks the substance behind that charming smile. By updating their romance, the 2023 Little Mermaid makes the love story more satisfying — and resonant for a new generation.

It’s familiar, without being cliche or tied to any existing media. At the same time, it’s innovative, in a way that celebrates its familiar genre tropes, instead of snarking at them.

Because the romance takes a back seat in favor of the main character’s growth, with the primary climax focused inward, Suzume ends up with a particularly unique and beautiful romantic arc.

When the emotional heart of the movie focuses on this group of ragtag explorers desperately trying to save the world they know, it’s a grand and exciting adventure, with beautiful scenery and fantastical creatures at every turn.