Spaceship Earth shines a light on the charismatic people behind Biosphere 2 but emphasizes the importance of climate change, especially today.

Arkansas struggles to find an internal rhythm - resulting in a laid-back crime film that suffers from flat execution, in spite of some bright spots.

Blue Story can be messy in stretches, but it's undeniably passionate and carried by its simple, yet effective, and sometimes lyrical storytelling.

Beastie Boys Story makes for a fun exploration of the Beastie Boys' history through the eyes of Ad-Roc and Mike D, but it may not be as comprehensive as some hoped.

The Half of It puts a queer YA spin on a classic romance story, but Wu makes it her own - delivering a charming, sweet and altogether heartfelt movie.

The Willoughbys is a mishmash of story ideas strung together by the idea of found family, but it's cute and quirky enough to keep viewers hooked.

For all its stylized flourishes and raw performances, True History of the Kelly Gang's confused narrative prevents it from fully taking off.

Despite the spectacular stunt work, Extraction is a garden-variety action-thriller dragged down by its regressive white savior elements.

Jump Shot is an important basketball history lesson, shining a light on one of the game's unsung heroes who deserves more recognition.

Uneven yet sincere in its execution, Sergio combines simplified political melodrama with a tragic love story powered by its leads' performances.

Although The Quarry feels lackluster in its execution, it's an intriguing story of redemption that's largely carried by a captivating Michael Shannon.

Carried by a generic story and uninspired performances, Behind You falls flat in its mission to terrify viewers with suspenseful mirror magic.

Both amusingly ridiculous and completely by the numbers, The Main Event makes for generally watchable (though very disposable) kid-friendly fluff.

Trolls World Tour serves up enough psychedelic visuals and positive messages to earn its keep.

Endings, Beginnings favors style over substance, rarely igniting the spark its meant to and anchored only by a compelling Shailene Woodley.

While the Code 8 movie's premise is more interesting than its other elements, it's handled well enough to warrant further exploration. Code 8 works better as a proof of concept than a standalone sci-fi thriller, serving up fascinating world-building with a fairly basic story.

Anchored by Yang's sensitive direction and a Tzi Ma performance teeming with life, Tigertail is romantic, thoughtful, and heartbreaking all at once.

Love Wedding Repeat is too cringey to be any fun and fails to deliver on its premise of multiple alternate timelines.

We Summon The Darkness is a wickedly fun and delightfully devilish thrill ride led by electric performances from Alexandra Daddario and Maddie Hasson.

Once it overcomes its initial storytelling lulls, Sea Fever embarks on a thrilling creature-feature adventure with a message that's all-too-timely.

Slapdash to a fault, Coffee & Kareem is an irreverent time-waster that can't make up its mind about whether it's sophomoric or subversive.

Thanks to its charming cast and even-handed blend of laughs and drama, Drunk Bus generally succeeds in putting a fresh spin on its familiar story.

Meyers' disjointed approach to Human Capital expertly weaves its story into a gripping mystery that's further elevated by exceptional performances.

Armed with a truly feminine perspective, Blow the Man Down rises above being a Coen Brothers imitation to deliver a gripping and tightly-woven yarn.

Vivarium is a wonderfully strange and gripping thriller that examines the stresses of homeownership and starting a family, perhaps all-too-soon.

Bolstered by a thoughtful script and beautifully authentic performances, Banana Split provides a fresh take on the coming-of-age romantic comedy.

Led by a charismatic performance from Jesse Eisenberg, Resistance is a harrowing story but often feels as if it bit off more than it could chew.

Overall, Frozen is another fine addition to the Disney animated feature pantheon, offering a witty and heartfelt princess fairly tale with creative musical elements and some visual panache.

A better survival thriller than social commentary via the horror genre, The Hunt only just holds together thanks to Betty Gilpin's virtuoso lead turn.

Disney's Stargirl is a mediocre teen movie about individuality and growing up, lacking the magic to make this manic pixie dream girl story work.

Bloodshot puts a surprisingly clever spin on the superhero origin story that's fun and funny, but Diesel's performance ultimately leaves it lacking.

Thankfully, both Platt and Massoud shine in their respective roles. They take the characters that Tollman wrote and make them layered, complex, and enthralling to the viewer.

Thanks in large part to Moss's performance, The Invisible Man becomes a fascinating dive into a survivor's psyche wrapped up in a compelling and truly scary horror movie.

Onward is a good, but not great Pixar movie, with a heartfelt, if emotionally manipulative storyline, and plenty of film magic to propel it forward.

In the end, Standing Up, Falling Down is all the better because of Schwartz and Crystal. Their comedic delivery is effortless and their personalities beautifully mesh together. Even as the story becomes more somber, they dive into dramatic elements with ease, turning this story's familiar plot into an interesting meditation on regret and the way it takes its toll.

Though it lacks the grit and gristle of the best London adaptations, The Call of the Wild is elevated by Harrison Ford and a very good CGI doggo.

Moviegoers looking for something romantic and entertaining to catch on Valentine's Day weekend (or even later on in February) won't go wrong with The Photograph.

Sonic the Hedgehog is a fairly middling family-friendly adventure movie, but a comparably good video game adaptation the belies a great deal of potential for a stronger, even more ambitious sequel.

Far from being a full-blown disaster, Downhill is a middle of the road comedy-drama that would've benefitted from a more incisive technique and a little extra faith in its audience's ability to grasp the subtleties of its story.

Olympic Dreams' backstage look at the 2018 Olympics is much more compelling than the movie's bland and contrived romantic comedy storyline.

You can see why Aardman, with their simple stories and rudimentary character designs, would have a hard time standing out next to the more intricate narratives and realistic digital animation of recent Disney and Pixar films. And yet, it's that very combination of simplicity in plotting and stylization that makes A Shaun the Sheep Movie: Farmageddon such a joy to watch.

Ultimately, Horse Girl is a tricky film to unpack. On one hand, it's fine that it doesn't provide easy answers for the questions it poses, but even dedicated cinephiles may find Horse Girl abstruse and challenging to a fault.

Much like its main character, To All the Boys: P.S. I Still Love You is so sweetly, openly earnest in its love of love that it transcends cheesiness and gives viewers permission to indulge in unabashed intimacy and romance for its entire one hour and 40-minute runtime.

It walks the fine line between being too whimsical and too dramatic, yet maintains that delicate balancing act over the course of its entire runtime.

With a wicked sense of humor and exhilarating action, Birds of Prey is fierce, fun and a total blast - and an empowering girl power superhero romp.

At the end of the day, Joker comes off as Scorsese-lite in the same way that Phillips' last movie, War Dogs, did - albeit, with great acting from Phoenix to elevate it, but also a sense of self-seriousness that borders on self-parody and pretentiousness that War Dogs did not have.

The Rhythm Section is wonderfully acted by Blake Lively and immersively directed by Reed Morano, creating a tense and mostly engaging thriller.

As a whole, The Turning is a triumph of style over substance that might've well made for a perfectly middle of the road horror film, had it not been edited down to the point of becoming incoherent by the end.

How to Train Your Dragon 2 is the rare sequel that improves upon its predecessor in nearly every single way imaginable.

Overall, The Hidden World ends the How to Train Your Dragon movies on a strong note and shouldn't disappoint those who've spent the last five years anxiously awaiting the final chapter in Hiccup and Toothless' story.

For those that persevere, there is an entertaining gangster film at the heart of The Gentlemen. There's a frenetic energy to Ritchie's movie that comes in part from his directing style, and part from the cast's clear enjoyment of bringing the film to life.

Overall I found How to Train Your Dragon to be great fun with a big heart - it drew me (and my daughter) in and we enjoyed it from beginning to end.

Despite a few strong aspects here and there, Inherit the Viper is more or less a fleeting entry into the crime genre that won't stick out in viewers' memory after the credits roll.

It may not push the envelope or be as innovative as other films out right now, but Just Mercy is nevertheless able to captivate the audience and could even inspire people to try to make a difference.

It's more effective as an action-comedy about Mike and Marcus struggling to figure out what they want in life (now that they're facing north of fifty) that a reflective drama about Mike coming to terms with his traumas and mistakes, if only because the latter plot thread tries to build on a foundation that, frankly, was never really there in the first two Bad Boys movies.

It's fun enough to keep audiences mostly entertained for its hour and 45 minute runtime, but there's nothing particularly memorable to latch onto - not the CGI animals, not the fantasy world and not even Downey Jr's performance.

There's a real sweetness at the center of the film, but Like A Boss surrounds that heart with middling raunch comedy.

1917 is worth checking out on a big screen for its visuals alone (Deakins' next Oscar nomination is all but assured), even though its immersive cinematography can, indeed, have the unintended side effect of making the movie seem like a video game at times. Still, there's a beating heart beneath the machinery that prevents it from being a hollow experience

Altogether Underwater is a middling movie that spans multiple genres, from sci-fi and thriller to action and horror, and can't seem to focus on any specific one.

The movie's attempts to expand The Grudge's mythology generally don't work, and its stabs at being grittier and more realistic than the films before it are undone by its over-reliance on bloodshed and just plain unpleasant details for shock value.

Though Togo is headed straight for a streaming service, it's still feels like a very cinematic experience. Director Ericson Core (who also served as the movie's cinematographer), excels at portraying the brutal conditions Leonhard and his team endured during the serum run.

Greta Gerwig's Little Women weaves a stunningly heartfelt and achingly honest coming of age story with excellent performances from its entire cast.

In spite of its shoddy sound design (Hooper, as he did with Les Mis, has his cast sing live, but their vocals are poorly blended with the instrumentation), Cats' actors are perfectly matched to their respective roles.

Star Wars: The Rise of Skywalker gets bogged down in exposition and course-correcting The Last Jedi, but does have some fun moments and fan service.

It's no less beautiful than anything Miyazaki's done before, and these softer illustrations, like sketches that were never refined, offer a dreamy world.

This film may want to scare us, but it also strives to make us as observant and inquisitive as its heroine. We become active viewers, learning and making connections that fill the gaps left open in the worldbuilidng.

If you're a martial arts/action movie fan in particular, much of the action in the film will leave you very satisfied. There's a prison escape sequence that is jaw-droppingly cool.

Guadagnino is, unfortunately, unable to find a consistent tone that leaves the narrative feeling disjointed and lacking in coherence.

It's not only a modern classic of the zombie genre, but one that is sure to stand the test of time for the next 20 years and beyond.

Lili Taylor's work here is rather brilliant, as she completely inhabits the soul of Patti, a single mother who is close to giving up on any future. It is a striking work in a great example of independent cinema.

As blockbuster experiences go, it's near-enough perfect.

While it may still pale in comparison to its predecessor, Candyman: Farewell to the Flesh deserves more acclaim.

While the film has an excellent concept, its overuse of traumatic medical conditions, disorders, botched surgeries, and motherhood makes for a confusing plot that has too many moving parts to retain a cohesive story.

It is a pretty average "day at camp goes horribly wrong" story. It stands a little higher, however, because it deals with an underrated bug that horror films should honestly put to work more.

Freaked definitely isn't for everyone, and in my opinion it certainly shouldn't be rated PG-13 (who made THAT stupid decision???) but as a "beer and buddies" movie you'll find it funny and, well... weird.

While it's not as good as the first, it ups the ante on gore and insanity, and will delight those who enjoyed Re-Animator.

While The NeverEnding Story II: The Next Chapter is lacking compared to the book and first movie, it's still an entertaining kid's adventure.

It's no surprise that Opera is Argento's largest mainstream success due to the fact that it is everything a traditional horror fan could want coupled with the addition of giallo elements and a unique story.

Though it is sometimes a bewildering mess, the film totally works in spite of its more ludicrous intentions, a standing piece of proof that the more specific a piece of work is, the more universal it somehow becomes.

Macchio and Morita not only deliver outstanding individual performances, but also show a remarkable chemistry with one another, and Martin Kove's performance as Kreese remains an effectively chilling foil to the film's leads.

It is one of Argento's finest works to date that captures the sub-genre he helped popularize in mainstream cinema.

Tyrell goes from gorgeous to viciously reptilian in the blink of an eye in her tour-de-force performance, and the film’s homosexual subplot, though not particularly PC, is an intriguing early instance of gay life depicted in a mainstream film genre.

The Watcher In The Woods is an eerie, gothic horror movie and while it's suitable for older children, it feels utterly unlike anything else Disney has ever made.

Featuring interviews from his ex-wife Priscilla Presley and those who knew him best, and including four different actors portraying him at four distinct time periods of his life, it's a comprehensive, defining look at his rise as well as what continues to make him an enduring pop-cultural icon decades after the height of his career.

This film has everything that makes a disaster film as an actual film disaster. With unconvincing effects, bland performances and a convoluted story, When Time Ran Out… is a dud, critically and financially.

Xala fictionalizes the key years of post-independence in Africa. It is a story of choice: of the different paths Africa could take on its road to the future.

Ozu plays with the positives and negatives of being married and being single in postwar Japan, at a time when women began to have more agency in their lives.

As a marriage of theme (the pace of modern life makes enemies of potential friends and renders everyone faceless) and technique, Duel is a compelling thriller that crystallizes Spielberg’s early promise and, as a result, is often seen as one of the best TV movies the medium has ever offered.

Ralph Bates gives a phenomenal interpretation of Victor Frankenstein himself, but it's David Prowse's musclebound monster that steals the show. It jumps through a lot of the same hoops as the Universal version, but it does stand out compared to other interpretations.

Surprisingly solid Western that bears the distinction being the first film ever credited to "Allen Smithee," a long-time pseudonym used by directors who wish to distance themselves from a project.

While the film has some full-blooded setpieces and creative visuals - plus one of the franchise's coolest posters - it's a thoroughly by-the-numbers effort. Lee is visibly disengaged with the sequel, the middle section drags on and most of the cast of characters aren't terribly interesting.

The story is solid and its characters are fleshed out enough that Girl Happy can be considered a plentiful experience, if not the final remnant of Presley's ambitious vitality in his late 1960s films.

Sadly, None But The Brave suffers from numerous cliches with the characters, including Clint Walker (The Dirty Dozen) as Captain Bourke, mostly being archetypes instead of fleshed-out human beings. The message is also painfully on the nose, but at least it's earnest.

Ozu's penultimate movie, The End Of Summer, was part of his color films made during the late 50s and early 60s...The End Of Summer contrasts the negative sides of both traditional and modern Japanese life during that period.

Though this film is filled with mystery and murder, what makes it stand out is that it is the first Thin Man film to explore Nick's background. While the previous films typically connected to Nora and her parentage, this is the first that sees where Nick Charles came from.

Since there are four films that precede this one, there are definitely less ideas to play around with, but the film still comes up with an interesting morality tale.

While it never reached the level of success of Dracula, Son of Dracula was still a great late addition to the Universal Horror catalog.

Suspicion is a compelling mystery that slowly reveals itself layer by layer.