All in all, Finding 'Ohana is a superb entry into the annals of kid-fronted adventure. The familiarity of concept and character welcomes you into the cozy romp of it all but provides surprises and spectacle unique to its Hawaiian environment. There are laughs and thrills aplenty, spiked with a bit of pathos, but not so much to derail the fun.

Wrong Turn delivers a handful of timely twists and coats the franchise with a new, and vastly more interesting, sheen. It stumbles at times to balance all the themes it's trying to handle with regards to societal ills, individual value, and self-determinism but the end result is still a warped ride that could set up more thrills to come.

PG: Psycho Goreman is campy, ridiculous, and low-budget, and it absolutely owns it.

It’s disappointing to see a triad of talented actors like Denzel Washington, Rami Malek, and Jared Leto wasted in The Little Things, a straightforward and seldom surprising murder-mystery.

The Marksman is perfectly watchable old man reckoning cinema, held together by good performances by Liam Neeson and young Jacob Perez, but it's ultimately not much more than an assembly line of non-surprises.

Outside the Wire is too long, too impenetrable, and not fun enough to warrant its lofty man vs. machine gimmick. It's fun to watch Anthony Mackie assume the role of a smart, cordial killbot, but the film's occasionally exciting bits of action aren't enough to breathe life into this muddled mess of a story.

More than just a retrospective of himself (and his relationship with his sprightly grandmother), Minari feels like Chung gazing into the past to recognize and empathize with the kind of hardships and sacrifices his immigrant parents had to endure. In the process, he creates a riveting drama about hope, family, and the difficulties of change.

Robert Rodriguez delivers a family-friendly film that feels like his most personal project yet. We Can Be Heroes is a cheerful and colorful take on the superhero genre with a powerful message about empowering younger generations to take the reins and do better than their parents.

George Clooney's The Midnight Sky is a gorgeous, glossy doomsday odyssey that feels like too big a winter coat on a small, fragile frame.

Fennell's film is a reflection of its antiheroine, a live-wire, exciting, dazzling, and dangerous. Fennell coats this heady blend of humor and horror in candy-colored palette of pinks dusted with pop music perfection and enriched by performances from a crackling ensemble cast.

Monster Hunter runs just over an hour and a half but feels about twice that long thanks to its listless, meandering plot devoid of a central focus or any meaningful world-building.

While Soul offers food for thought and has heart, it’s never quite as funny, engrossing, or emotionally rewarding as Pixar’s best.

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

Paul Greengrass and Tom Hanks have given us something truly special with their latest collaboration: a film that is engaging and challenging but also just makes you feel good.

Grimy, "topical" pandemic adventure Songbird is pretty much D.O.A. It struggles to find life in its secluded settings while also, overall, just leaving a bad taste in your mouth. The love story never catches hold, the ensemble never gels, and the contrivances pile up beyond all repair.

Rebellious game developer Midway's rise and fall gets a surprisingly tame retelling in the doc Insert Coin.

Francis Ford Coppola has tightened up and retweaked his final Godfather film, but the original's inherent flaws remain.

A timely, powerful piece about the slow road to progress, and the nuances of fighting broken systems from within.

Glenn Close and Amy Adams shine in Ron Howard's new, rather unfocused film about abuse, poverty, and addiction.

Ultimately, it's bland, not bold, and achingly absent of enchantment.

The Christmas Chronicles: Part Two, directed and co-written by Chris Columbus, once again takes full advantage of Kurt Russell's exuberance as Santa -- and the full addition of Goldie Hawn's Mrs. Claus -- for a rewarding romp about young Kate Pierce's need to rediscover the holiday spirit.

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.