Frozen II is a worthy follow-up with enough heart, action, and music to entertain younger and older viewers alike.

It’s exceptional escapist entertainment for those who don’t mind a little spice sprinkled into their cozy mystery.

A celebration of Mr. Rogers and the healing capabilities of his words and doctrine, the movie may not be a splashy as many of the year-end multiplex stocking stuffers but the experience it offers tugs effectively at the heart strings.

Although arguably too long and arduous for theatrical viewing, it’s perfect for the more comfortable, relaxed confines of home viewing when the prospect of immersing oneself in a director’s creative vision for 3 ½ hours is less daunting. Whether seen on the big screen or a small one, The Irishman is among 2019’s best motion pictures and should receive its share of Oscar attention in 2020.

This is solid, middle-of-the-road entertainment. Slow patches aside, it finishes strong and, although it probably won’t win the box office race, it may generate some Oscar interest (because Bale is almost always good enough to warrant that sort of attention).

With Paul Feig in the director’s chair, this unapologetically sentimental film provides viewers with opportunities to laugh and cry while morphing into something a little different than what the trailers and marketing material suggest.

Doctor Sleep is more straightforward and narratively clean than "The Shining." Although too long by at least 20 minutes, it is more accessible and doesn’t overly penalize those who haven’t seen (or don’t remember) the original movie.

The problem with Waititi’s approach, not unlike those faced by Roberto Benigni 22 years ago when he made the divisive "Life Is Beautiful," is perfecting the tonal shifts. His difficulties in this area can create a whiplash effect that results in the overall production feeling a little “off.”

The film surprises with its narrative twists and turns, making the overall trajectory unexpected and the endpoint different from anything one might have expected at the beginning.

The story introduces interesting new wrinkles and the ending, when considered in the context of a trilogy, makes this movie feel less like an extraneous add-on than a part of a larger tale. There’s really nowhere else to take the franchise, however. With this sixth installment, it’s over.

By blending facts, myths, and made-up material, Lemons weaves a strong, engaging tale but, at least on some level, there’s a sense of a missed opportunity to do something grander.

It’s a strong performance of a character worthy of biopic treatment. Dolemite lives!

The Lighthouse is a riveting but decidedly non-mainstream horror film. Even if the ending is imperfect, I’d love to see more movies like this.

Any curiosity surrounding the film may have been misplaced – it’s a bit of a bore.

If you liked "Zombieland," you’ll probably like Zombieland: Double Tap, just not as much. It has some good laughs, although they don’t come as frequently. It has some clever moments, but not as many. And the character interaction is fun, at least most of the time.

Although the second installment is effective at moving the story forward rather than re-treading familiar ground, it enters a patch of quicksand from which it is unprepared to escape. Disney is adept at doing many things but offering a sobering and intelligent examination of genocide is not among them.

When it comes to waterborne movies, Wolfgang Petersen’s "The Perfect Storm" (not a horror film) is more terrifying than Mary.

Little of the film is new or innovative and, although director Ang Lee can boast some interesting choreography with one of the fight scenes (something involving the use of a motorcycle as a martial arts weapon), his inventiveness doesn’t extend to the tired storyline, which feels like recycled pulp material.

The Laundromat uses a format not unlike that of "The Big Short" (without Margot Robbie in a bubble bath) to shine the light on the kinds of activities uncovered by The Panama Papers.

This is a disturbing film, a journey into the heart of a damaged man’s psychosis. In many ways, it’s more of a horror film than an action/adventure offering. Even Nolan’s The Dark Knight, the crown jewel of the 21st century DC/Warner Brothers cinematic catalog, traced a more traditional comic book movie template than Joker. Within this genre, there has never been anything quite like it.

The Day Shall Come is an angry film – funny at times but with an acidic underpinning.

Although Judy doesn’t adhere rigorously to the chronology of the main character’s last months, it provides a compelling portrait of the tragic decline of one of America’s 20th century icons.

With its grim tone and sickening content, this gruesome gore-fest might have limited appeal for "Death Wish" lovers who wished Charles Bronson hadn’t been such a wimp.

Of recent films, Christopher Nolan’s "Interstellar" is the best comparison. Ad Astra isn’t quite as strong but it’s in the same ballpark.

Downton Abbey is for those who loved the TV series and were sorry to see it go, and there’s nothing wrong with a little fan service for Masterpiece Theater watchers in a day and age when every Marvel film wallows in it.

There’s something delicious about the way Hustlers delivers on its promise of glitz, sex, and raunchiness while delving far enough beneath the surface to subvert the genre.

Although Peter Straughan’s stripped-down regurgitation of the story is faithful to Tartt’s narrative in the broadest sense of the word, it lacks elegance and depth. A Dickensian coming-of-age tale, The Goldfinch is at times dull and pretentious and never earns its 2.5-hour running length as an example of either art or entertainment.

At times, the film tends toward meandering and self-indulgence.