Credit Pixar veteran Pete Docter ("Up" and "Inside Out") and co-director Kemp Powers (the writer of the play and upcoming movie "One Night in Miami") with an addition to Pixar's library worthy of its classics.

Wherever one sees it, Turning Red delivers an exquisitely animated story that's moving as well as funny -- welcome evidence that creatively speaking, at least, Pixar hasn't lost its golden touch.

Much like "Hamilton" on Disney+,Come From Away delivers a best-seat-in-the-house view, offering a moving, brilliantly shot and staged spectacle that brings that moment unerringly back to life.

One Night in Miami delivers a concentrated taste of that, but like its newly crowned champ, somehow manages to gracefully float through its history, while still packing a potent dramatic punch.

The film turns out to be a fun but thin construct, fostering a sense of itchiness to see how and if it's going to pay off.

Hit Man is as much a quirky romance as a thriller, juggling its mix of whimsy and suspense deftly enough, especially down the closing stretch.

In tennis, “love” means nothing. Love also has little to do with “Challengers,” which uses the sport as the backdrop to serve up an elaborate, non-linear psychological triangle that proves twisty and enticing for much of the match, before double faulting by whiffing on the ending.

The movie lives up to both halves of its title: The Holdovers gets a hold on you, while looming over most stories built around the simple idea that families are often defined by what you make of them, not what you inherit.

It's another timely, thought-provoking message from a filmmaker known for them, in a movie that piles so much on its plate as to fall short of Lee's best.

In bringing In & Of Itself to the screen, director Frank Oz (yes, the former Muppet master and filmmaker, who directed the theatrical version as well) has heightened the impact of DelGaudio's material by rapidly inter-cutting exchanges with audience members across a number of shows.

Director/co-writer Robert Eggers ("The Lighthouse") has sought to make the definitive Viking movie, and while the film issues a guttural cry for theatrical viewing, it is built around such a basic revenge plot as to blunt those simple charms.

Strange, surreal and unexpectedly sentimental, Everything Everywhere All at Once is genuinely and wildly original -- the kung fu/science fiction/metaphysical action comedy that you didn't know you needed, but just might love.

MLK/FBI not only offers a compelling portrait of what was, but beyond just looking back, sets up a debate about what will be. In the process, the documentary sheds light on a dark part of US history while leaving viewers to contemplate just how dark its more sordid corners should remain.

"Tina" is that rare documentary that leaves you craving an encore, as if two hours weren't quite enough to do Tina Turner's life and career justice. Weaving in a new interview with the 81-year-old icon, the footage then and now underlines the impression of Turner as a force of nature, rocking and rolling with and without Ike.

Ultimately, American Fiction raises questions about the price of Black success in a White-dominated media and entertainment culture. What it doesn’t do, while maintaining its satirical edge and eye, is provide any easy answers.

As a first film, this movie would have surely been hailed for its promise. Held up against a debut that garnered a well-deserved Oscar nomination and honors for best original screenplay, it's easy to come way thinking that "Us" doesn't merit all that fuss.

The performances (especially the lead one by Shall We Dance's Koji Yakusho) are all quite good, but I was once again stuck watching a movie that's solely about repressed passion, perhaps the least cinematic thing you could ever try to film.

Featuring women involved in an underground network, the HBO presentation is a snapshot that echoes far beyond its specific moment.

The Go-Go's has pretty much everything you'd want in a rock documentary, presenting an oral history of the chart-topping all-female group with sex, drugs, music, money, and the intramural squabbling and wounded egos great success tends to unleash. Hard to believe it's been 40 years, but anyone who remembers the band should fall head over heels once again.

Writer-director Rian Johnson again assembles a solid cast behind Daniel Craig, but it’s his use of language – where nary a word is wasted – that finally gives the sequel its edge.

The requisite thrills are there, as well as the flourishes that audiences have come to expect from the “Mission: Impossible” franchise, from the ornate masks and disguises (a staple of the original show too) to the death-defying stunts (clearly a made-for-the-movies upgrade to the formula).

All told, there's not a whole lot new here. Still, for anyone who hasn't waded through Bob Woodward's book "Rage," or deeply reported accounts by the New York Times and others laying out Trump administration shortcomings, Gibney and company have delivered what is clearly intended to be a powerful closing argument, pulling the case together. And to underscore the title's ironic nature, the evidence suggests it's a response characterized more by chaos than control.

It's a well-made, provocative movie. And in a great big universe searching for intelligent content, one would hope there's still room for that.

“Barbie” comes roaring out of the gate with an inventiveness and energy the movie perhaps inevitably can’t sustain. Amid all the hype that has made its release an increasingly rare movie-going occasion, director Greta Gerwig’s film proves an admirably ambitious attempt to ponder where Barbie fits in the 21st century – less than it could be, but pretty close to being what it should be.

The main drawback to A Beautiful Day in the Neighborhood -- directed by Marielle Heller ("Can You Ever Forgive Me?"), from a script by Micah Fitzerman-Blue and Noah Harpster -- is that it tends to leave you craving more about Fred Rogers, and less about Lloyd.

It's an intense experience, one whose focus is undeniably stirring but which leaves certain aspects of Blair's life and resume somewhat underdeveloped.

Mank has the makings of an Oscar contender, and not just because of Hollywood's traditional love for movies about itself. With Gary Oldman as the alcoholic, self-destructive writer of "Citizen Kane," director David Fincher has made a near-great movie about what's in the argument as the greatest of all time.

With Hugh Jackman and Allison Janney as a can't-miss combination, Bad Education joins a juicy true story somewhere in the middle, drags before getting into the meat of it, and then rallies solidly in the second half. While smaller in tone and topic than most HBO movies, it's a solid exploration of greed and corruption, where the ultimate hero is, of all things, a teenage journalist.