There's some gorgeous imagery along the way, and a strong payoff after what amounts to the episodic nature of Raya's journey. But the film feels too conspicuously like a work by committee than one of inspiration (the film credits four directors or co-directors, and 10 names as having contributed to the story), missing the spark that has characterized the studio's best animated fare, including Pixar's recent "Soul."

For those craving an action distraction, it's a reasonably entertaining way to kill time.

This very nostalgic, mildly entertaining movie possesses a rather timely undercurrent, even if its delivery via Amazon -- like most issues facing Zamunda's royal family -- amounts to a high-class problem.

Late twists ratchet up the drama, but also make the movie feel as it has rushed toward a resolution.

A warmed-over collection of cinematic cliches that misses its shot what could have been a fertile premise, in don't-quit-your-day-job fashion.

The tragedy associated with such stories could provide fertile territory, theoretically, for a good drama about what went wrong and who's ultimately responsible. That movie might get made someday, but Crisis isn't it.

Thanks to the power of the subject matter and Day's knockout performance, The United States vs. Billie Holiday is worth seeing. But the film is generally at its best when watching, and listening to, the lady sing.

The Father isn't a picnic to watch, but it is -- somewhat ironically, given Anthony's condition -- a movie, and performance, that's hard to forget.

Tom Holland's kinetic performance is impressive, but it's in the service of an uneven film that too self-consciously works at mirroring the form of a novel.

Nomadland is a meticulously crafted little movie, anchored by a star at the top of her game. Yet it's possible to enjoy the film on that level and still come away feeling if the film makes much noise in the awards hunt, it's a sign that this was a relatively weak year.

Me You Madness serves as a reminder that you can clearly try to be funny, and still produce something that turns out to be kind of a joke.

"Ruth" admirably contextualizes Ginsburg's lingering legal influence, and how her writing in dissent during her 27 years as a justice often influenced subsequent opinions from lower courts.

The Mauritanian is a bit of a throwback -- a solid, old-fashioned piece of entertainment, but not a great movie. But in its objective to present what being wrong meant for our view of "American justice" and democracy, that's one thing that the film gets very right.

What's lacking, mostly, is a tighter focus on what is, admittedly, a complicated story to do justice. The issues the film depicts nevertheless resonate on multiple levels, from the current state of race relations to the way the government dealt with this perceived domestic threat, without packing quite the wallop that the material suggests.

Minari is a deeply personal film, and quality that's evident in writer-director Lee Isaac Chung's reminiscence about his childhood. Focusing on a Korean immigrant family, the universal themes come through loud, clear and ultimately with considerable power, even if the movie's languid pace works against it.

Writer-director Sam Levinson spends a good deal of time in Malcolm & Marie complaining about critics, which feels like a boxer leading with his chin. Pairing Zendaya and John David Washington, the movie -- quickly and stealthily shot during the pandemic -- wins points for ingenuity, then loses them with its shrill tone and the uneven hairpin turns of its writing.

Directed by actor and documentarian Fisher Stevens, "Palmer" certainly doesn't break any ground, but its simple story is sensitively told.

Supernova is by any measure a modest production, but it accomplishes what it sets out to do: Creating a touching, low-key showcase for its stars, one that allows them to cast a bright light.

Ultimately, The Little Things meanders a bit too much with stakeouts and the drudgery of police work before getting to the meat of its psychological core, which offers a provocative payoff, if not perhaps one good enough to fully justify the journey.

Penguin Bloom is harmless enough as family fare goes, which counts for something, with an inspirational message for these trying times. The real drawback lies in how the story flits around in the telling and seems unable to choose a lane, leaving a movie that feels as if it's neither fish nor fowl.

The final act isn't quite equal to the build-up, but by then, The White Tiger has already pretty well sunk its teeth into you, making the investment in understanding Balram's fate feel like two hours well spent.

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.

American Skin is worth seeing, for the issues Parker seeks to address, even if it only partially works in leaving a mark.

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.

Outside the Wire can charitably be compared to the kind of "B" movies that studios used to churn out, and is best consumed by tempering expectations accordingly. Because unlike its futuristic hero, there's nothing special about it.

Thanks to Chiwetel Ejiofor and Anne Hathaway it's mildly watchable, but mostly an artifact that might look better after a few years in the Covid time capsule.

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.

Overall, News of the World is a solid if unspectacular film, presenting a familiar story against an interesting historical backdrop. It just doesn't deliver quite the much-needed escape from their troubles to a contemporary audience that Kidd promises his crowds.