A film about so many different things that it ends up about none of them, Aaron Sorkin’s Being the Ricardos is visually inert, and features an emotionally stifled performance from Nicole Kidman as the lively Lucille Ball. Javier Bardem brings energy to Desi Arnaz, but it isn’t enough to pick the disjointed pieces up off the floor.

Encounter is a tense, and stylish thriller with some excellent performances, but it’s dragged down by a lack of focus and pointless tangents.

Despite a bit of an imbalance between its first and third acts, Nightmare Alley delivers a delightfully meaty neo-noir packed with solid performances from its impressive ensemble.

Steven Spielberg’s West Side Story is a dazzling complementary piece to the original.

The Humans is a thoughtful and brilliantly acted meditation on family and humanity.

The Summit of the Gods is a standout tale in both story and animation technique.

What Anderson doesn’t give us is the inner lives of anyone in the film.

Bruised is a good outing for Halle Berry as a director, though a better reminder of her as a star. Aside from that, however, the story progression is light on impact.

Resident Evil: Welcome to Raccoon City sticks admirably closely to its source material, but an overly stuffed story and rushed third act hold it back.

House of Gucci starts with such promise as Adam Driver, Lady Gaga, and Al Pacino give performances that bring out the emotional complexity of the historically dysfunctional Gucci family. But then Ridley Scott becomes infatuated with tracking the fall of the corporation and its familial machinations instead of zeroing in on the more compelling personal implosion of Patrizia and Maurizio. Too much of the narrative is given over to side characters and scenes that are overindulgent, which lessens the potency of the tragic story and our investment in where they all end up.

Lin-Manuel Miranda tries to turn Jonathan Larson’s one-man show into a traditional musical, but ends up getting stuck halfway in between. However, Andrew Garfield delivers a tremendous, running-on-fumes performance as the real-life Broadway mainstay, whose impending 30th birthday pushes him to his creative and emotional brink.

Zeros and Ones uses the spy genre as a thin mask for a fever dream that evokes nightmarish uncertainty.

Black Friday proves to be a winning combination of gloppy scares, well-crafted characters, and wise commentary.

Encanto is a vibrant, visual delight that’s just as magical as the family at its center.

Despite the inherent ugliness of watching a rich kid diabolically dig into a mom and dad who are just trying to save their home for the sake of their own children, Home Sweet Home Alone has some decent wit and heart to it. Archie Yates is good as the new precocious protector of his lair, but it's Rob Delaney and Ellie Kemper who anchor the film and give it something resembling a soul.

Clifford the Big Red Dog is a sweet if shallow kids offering that sometimes soars higher than expected.

Writer-director Mike Mills gets the very best from Joaquin Phoenix by pairing him with the young Woody Norman. Their pitch-perfect chemistry enlivens this quiet road drama about the perspectives of our youth with emotionality that won’t leave a dry eye in the house.

Love Hard isn’t reinventing the wheel, but Nina Dobrev and Jimmy O. Yang are adorable to watch in this feel-good Christmas rom-com.

Three A-listers globetrot and double-cross each other in Red Notice, a derivative action film that should be much smarter and sexier than it ends up being.

Kate Siegel does her best to elevate a simplistic thriller that follows all the same beats you're accustomed to.

Last Night in Soho’s biggest strengths and weaknesses come from the same place: its attempts to replicate much better psychological horror from decades past. However, despite everything that doesn’t work, its musical energy keeps it fun.

My Hero Academia: World Heroes' Mission boasts the franchises' best animation yet, as well as a dark and menacing villain straight out of an X-Men comic. It all results in a compelling and thrilling adventure that, sadly, suffers from being an isolated non-canon story.

While not without charm, the biggest factors working against Army of Thieves are a confused hybrid of horror and heist genre stories and an approach making it unclear which audience – other than the most ardent of Zack Snyder fans – it’s aimed at.

Eternals is beautifully shot and terrifically acted, but it bites off more than it can chew in its third act.

Antlers is a satisfying, unsettling, and rather bleak horror movie when it focuses on its main creature. It’s also a thought-provoking character drama when it deals with parental neglect, but the two never properly mix, keeping it from being as great as it could’ve been.

The Black Phone mixes the supernatural with relatable horrors in ways that will leave you both terrified and hopeful.

Despite a great cast, Needle in a Timestack lets the fuzzy logic time travel tropes trample the characters and our care for them and their plights.

Jane Campion serves up a nervy psychodrama set against an astonishing cattle country backdrop with impressive performances from Benedict Cumberbatch and Kirsten Dunst, but an obvious plot trajectory that dulls the storytelling impact.