With his latest directorial effort, Soderbergh has made a film that not only constantly pokes fun at its own characters and their lives, but finds a way to imbue each of them with a soul and heart along the way.

Like its doomed romantic pair — Marion Cotillard’s radiant stage actress and Adam Driver’s macabre comedian — Annette pours dreams, perversions, and self-fulfilling misery into its titular puppet-child, a beautiful creation that sings heavenly tunes in the darkest of moments.

Director Jon Favreau's The Lion King is a worthwhile reimagining that relies on nostalgia over risk-taking.

This movie has always been a favorite when it comes to the nuttiness of Christmas and family, and it's still a riot. Have a merry dysfunctional Christmas.

Jung’s The Villainess offers enough action to make up for the otherwise confusing complexity of its storytelling.

Stand by Me is easily one of the best Stephen King adaptations and one of the best coming-of-age stories ever made.

You may not like Timothy Dalton as Bond, but the fact is they could put a trained seal in the role and the movies would be basically the same. And by those standards, this one is pretty good.

Rock 'n' Roll High School is like a ride on a music rollercoaster. For some, the ride will be a dizzying one they'll never want to endure again. But for others – mostly cult/punk enthusiasts – this is going to be one ride worth experiencing over and over again.

McDowell is as good as ever here – this time playing Cornelius – while Kim Hunter is hugely sympathetic as Zira.

Wonder Woman 1984 is a bright and hopeful adventure that pays loving homage to the superhero movies of yesteryear.

Directed by Barry Levinson (this was his sophomore theatrical feature following Diner), the film is quite moving. Redford delivers a great, soft-spoken, naturalistic performance and he's paired with a solid all-star cast. Randy Newman's score is absolutely terrific, too. One of the best he's ever done.

I really like the sequel. No, I'll go one step further – I love the sequel. It's missing some major players, both in front and behind the camera. But really, Airplane II has some seriously funny gags.

There's a sense of beauty and dread that's cleverly injected into George Lucas' American Graffiti, a tone poem and ode to the music, cars and culture of the early '60s. On one level, the film is a staggeringly thoughtful slice of Americana – one night in the eyes of several young teens looking for love, adventure and fun. But on another level, there's a genuine sense of apprehension. The world is quickly catching up to our heroes, and soon they'll be flung head-first into Vietnam, the hippie movement, and a social revolution

The Little Stranger may be a bit too slow burn at times and isn't for all tastes, but it's well-acted and engrossing.

While Blockers treads some familiar territory in its sex pact escapades, and occasionally buckles under the weight of its escalating insanity, its fresh perspective and stellar casting ensure a coming-of-age comedy that adds something vital to the genre.

Alita: Battle Angel is Robert Rodriguez’s best film in many years. It’s an ambitious, impressive, visually spectacular production with great performances that make its strange world seem real.

Smith’s character gives the story an emotional weight and Reynolds delivers an endearing comedic performance that’s closer to his subversive Deadpool schtick than you’d expect. While video game movies haven’t had the best track record, this movie is by and far the best example of how to do one right.

Teen Titans GO! to the Movies is bonkers in the best way - a gleefully weird, frequently witty ride that has no desire to take itself - or any other superhero movie - too seriously.

The cast (including Brooks, Anne Brancroft, Christopher Lloyd, Tim Matheson and Oscar-nominee Charles Durning) does their best to keep the laughs flowing.

You may argue whether it’s “good”, but damn it if Sleepaway Camp isn’t a super fun, crazy and, most importantly, an incredibly memorable movie

Well written, well made, well acted, St. Elmo's Fire is a quintessential film about the strange middleground between youth and adulthood.

Tombstone is incredibly entertaining. While not entirely original and not always well executed, it manages to keep your attention for the entire 130-minute duration. And let's face it, Val Kilmer as Doc Holliday is what really sets it apart.

The film paints a nostalgic portrait of the fears we all shared as children - the common knowledge that when our parents left the room, the monsters under our beds - or locked inside our closest - started to shift and scratch; that our only friend in the midnight hour was the nightlight in the corner of the room.

Tim Miller’s film deftly builds upon what worked in the first two James Cameron-helmed entities while bringing in a new host of characters and circumstances to challenge the course of humankind. While there’s definitely some frantic leap-frogging involved in terms of accepting why some characters have evolved the way they did, Terminator: Dark Fate ultimately succeeds in serving as both a suitable closing chapter for the original two films and a possible gateway to exciting new chapters ahead.

Woman Walks Ahead has some narrative issues but is ultimately a well-acted biographical drama.

This movie exhibits a craft that belies Morita's inexperience as a director. He hasn't made a poetic film in the manner of his Ghibli mentors, but it's actually more polished in some ways than much of their work, especially in terms of movement.

Vastly entertaining, but like Porco aiming for the ethereal stream of planes above the clouds, never quite reaching its profound goals.

I don't want to make the film sound overly heavy by pushing the art side of it; it can be appreciated on so many levels, by children, stoned hippies, or Andy Warhol fans.