Despite its flaws, the film still manages to win you over, even if it never actually surprises you, making it quite an assured debut.

Angela Robinson, who wrote and directed the film, has managed to take what could have been a tawdry or salacious look into Wonder Woman’s naughty roots and give her real-life characters – and their genuine love for each other – the same amount of respect that any vanilla, monogamous heterosexual historical figure would receive.

Its characters are thinly written, its antagonist is one-note, and its clumsy third-act action climax is wholly perfunctory. Yet despite all that, Dumbo still manages to offer the sweeping old-fashioned magic of an earnest family blockbuster.

Sandberg finds much of his terror in the tension that exists between light and shadow, an unsurprising discovery considering his previous film hinged on the two. They’re used much more effectively here, however.

There’s plenty to enjoy and admire about this one, even through its uneven moments.

Snow Hollow is a fun variation on the werewolf film that gets by with enough chuckles and blood.

Its essential components touch on the valuable insight that the white imagination often can’t wrap its head around what Black music is actually saying, and the ways it says it.

The results are deeply, charmingly dumb, especially the extended focus on the tete-a-tete between our tic-heavy underdog and his murderous companion.

Kill Your Friends is effective and enjoyable in the way that dusty music compilations are.

It’s tough to recommend She Dies Tomorrow given the high levels of stress and anxiety so many of us are currently experiencing. Seimetz uncannily mirrors the pervasive unease of 2020 in a way that hits a little too close to home. Full disclosure: watching triggered a near existential crisis and multi-day bad mood for this writer.

It doesn’t always work, and the results are more than a little misanthropic (especially given the cruelty of its opening and closing moments). But if that’s your jam, and the prospect of body-swapping assassins coated in guts, gore, and neon appeals to you, Possessor‘s Argento-soaked atmosphere ought to fill that need.

That world is so well-realized that the film is worth seeing, but it’s a mild letdown given the number of philosophical queries that it raises, only to leave ultimately unexplored.

As an extended aesthetic exercise with purposefully cheesy jokes, it might be nice if The Munsters had anything to say, anything at all.

Not all of Killing Gunther lands as well as it should. The humor feels inconsistent at times.

There’s some solid action throughout, with sequences that vaguely approach James Bond in their silliness.

Much of Kate Plays Christine is more of a form exercise than it is a documentary portrait, which works to both the film’s benefit and detriment.

While the quality of the film’s craft is up for little debate, though, it’s overall appeal and impact are far more polarizing.

When it focuses on Eichner and Macfarlane, and the ever-complicated mores of queer masculinity, it stays charming and light on its feet. If it were a little less self-conscious about that homonormativity, it’d have a more cohesive identity, and be more of a slam dunk in the process.

What writer and director Kerem Sanga captures so well in First Girl I Loved is high school. What he captures even better is falling in love, or the naïve idea of what it means to be in love as a teenager.

Come Inside My Mind is a moving, engaging portrait of a beloved comedic icon, but like Williams himself, it sometimes lacks focus.

As a teller of tense, personal stories about communities in crisis, Farhadi is an absolute master; but with Everybody Knows, he falls just a bit short of the greatness people have come to expect of him.

The Dead Don’t Die is a zombie movie of an odd stripe, and for all its blatant synthesizing of influences, it never shakes off the impression that it’s working out exactly what it wants to be as it goes along.

Boseman, wildly charismatic, captures Marshall as a magnetic figure, and his drive and fervor are intoxicating.

Skyscraper‘s knowing sense of transparency about its own corniness turns it into exactly the right kind of summer outing, a tight 93 minutes of consistently well-executed overstimulation that takes itself seriously enough to avoid total self parody while also going out of its way to avoid insulting its audience’s intelligence.

As a primer for one of the funniest, most emotionally satisfying thumbs in the eye to the super-rich in recent memory, Dumb Money is a pretty good time. That said, it leaves out crucial details and has little time to dig deeper into its cast of characters, making it feel like a cardboard glimpse into a complicated blip in the rigged game of American finance.

While The Accountant 2 isn’t a wholly successful movie, or a wholly successful depiction of autism, it does at least spotlight an autistic character who lives a full life and seems content — who does, in fact, date and do his taxes. It’s not a triumph of representation, but it’s got a better understanding of the subject matter than some government officials do.

Good Burger 2 is a time machine that takes its audience back to a time before adulting became a verb or a burden. And on that front, it succeeds. Not always with flying colors, but just enough for a pleasurable distraction during a chaotic holiday season.

The result is that this film isn’t necessarily for the Pink Floyd newbie, as they’ll be hopelessly confused as to who is who — however, they may still be able to take in the incredible music. And Pink Floyd at Pompeii captures a Golden Age just beginning — a whole lot of spectacular music was soon to come from Waters, Gilmour, Wright, and Mason. You could see it coming, clear as an eruption from the grounds of Pompeii.