The Croods: A New Age is a mightily medium follow-up to the 2013 original. The voice cast is great and the jokes are the perfect type of clever, where both kids and adults can get a good laugh. The story and emotional stakes are a touch thinner this time but that's to be expected, for the most part, from this type of animated sequel.

While the film boasts a strong ensemble, all of whom give fantastic performances, especially Davis, Ma Rainey’s Black Bottom is Boseman’s movie from beginning to end. He shows his full range. All the tools, from his charm to piques of anger, that fated him for stardom.

The performances range from wooden Moussi to full-on Cage, so it's tonally all over the place. As a whole, it's an absolute mess, which makes it kind of perfect for 2020. Still, within this swamp of style, wildness, and TOO too much, there are some truly exhilarating treasures, chief among them Cage. In short, it's not good, but maybe being a lot just enough.

Deftly filmed and edited, Run is undoubtedly effective on the small screen, but few other films this year have built and held tension this expertly, so as to be immediately worthy of a room full of people reacting in unison.

Jingle Jangle: A Christmas Journey already feels like a timeless treat. Though it's a little longer than it needs to be, Jingle Jangle is still filled with enticing visuals, holiday heart, and seasonal cheer. It instantly feels like a snug, fabled world ready to be explored.

The reclamation project known as Mank falls short. Even with showy performances from Oldman and Seyfried, and its beautiful craft, the film lacks heart. Because underneath the wisecracks and drunken debauchery, in the face of a sweeping political narrative, there’s scarcely an impression of the man.

Freaky is a bloody good time. It’s smart, sharp and funny with some tasty kills and headline casting that is to die for.

Tightly wound on almost every front, His House packs an enormous emotional punch even once its scares grow stale.

The subpar tech-horror film Come Play is as boring as it is painfully outdated.

I absolutely love the first half of this film. Lister-Jones recaptures the magic of the original by welcoming the audience into a cool coven with warmth and radiant leads. It's a pleasure to tag along with this dynamic squad, whether they're dabbling in telekinesis, flirting with a crush, or taking on the forces of evil and misogyny. Slow-motion of moments awkward, lusty, and celebratory envelop us in the overwhelming emotions of the heady time that is teendom. Sadly, this spirited and powerful path is abandoned to lay the groundwork for a sequel that is -- as far we know -- not a certainty. Such plotting bogs down the rich and rewarding story of friendship, self-acceptance, and growth. Still, that franchise-forward choice aside, this sequel is wickedly fun and bewitching.

Borat Subsequent Moviefilm may not contain all of the shock and awe of the original, since exposing racists has sadly sort of become commonplace, but it still contains an avalanche of awkward, anxiety-cranking moments that'll have you laughing while watching through your fingers like you would a horror movie.

Zemeckis turns this beloved, dark story into a campy, weird, yet still fairly entertaining kid-friendly story of accepting oneself. The problem is that it pales in comparison to what came before.

Saint Maud is an impeccably crafted, deeply unsettling, and wickedly engrossing religious horror film.

This journey from sun-soaked beaches to chilly English country, from heart-racing flirtation to soul-shattering stress, from new love to old regrets, feels dry and flaccid. Much like Mrs. de Winter, the long shadow of Hitchcock's Rebecca proves just too powerful to ignore.

Writer-director Aaron Sorkin's star-studded chronicle of The Trial of the Chicago 7 is timely and terrific.

The Outpost is a cleverly, and respectfully, crafted war film that uses a segmented, episodic approach to help you invest in the characters while building up to a very impressive battle sequence.

Even with some questions left dangling, The Show offers a supremely intoxicating adventure, ripe with imagination, rank with decadence, and rabid with more, more Moore.

Hubie Halloween is aggressively stupid, sure, but it's also occasionally endearing (with a guilty chuckle or two).

Vampire vs. the Bronx offers enough kid-friendly thrills and laughs to entertain and introduce newcomers to the horror genre, while also offering a socially conscious exploration of gentrification we haven't seen in the genre before.

As a piece of political filmmaking, Lovers Rock is deft and nuanced, a celebration of joy and community built in response to oppression.

Ultimately, Lupin III: The First plays it safe. While the film adds a new visual kick, there’s not a whole lot in the way of storytelling innovation. But maybe we don’t need it.

Nomadland is a radiant celebration of humanity and community.

The Devil All the Time is made purposely provocative by Antonio Campos imbuing an unrelenting gruesomeness into every frame.

Kemp Powers' thoughtful script gives us an insight into what might have been going on behind the sports and entertainment performances that awed us, and in doing so urges us to look at what's still going on now. Director Regina King's cast delivers some of the best performances of the year, unveiling the hidden pain of public figures. Through a keen focus and confident flow, she unfurls their struggles in a poignant display to show how they live on today.

Enola Holmes, starring Millie Bobby Brown and Henry Cavill, is a toothless Fleabag with Sherlock coating.

The New Mutants didn’t deserve to be locked away for years. It’s not some unwatchable mess but rather a perfectly fine, entertaining, if at times formulaic small-scale genre movie.

The psychological thriller-horror film Antebellum mishandles its sensitive & painful subject matter on multiple levels.

Disney’s live-action Mulan is a confident blend of old and new, hiding a familiar heart under action-packed armor.