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.

With an exceptional performance from Ahmed and style meets substance storytelling, Hamlet is a journey worth taking.

Hunter Hunter's atmospheric, woodland nightmare barrels through like a boulder down a hillside and depicts a ferocious battle between man and beast.

This hopeful and insightful look into the life of such an icon creates an inspiring and beautiful story that stands tall from the beginning until the very end.

With Nuremberg, James Vanderbilt is less interested in showing Hermann Göring (Russell Crowe) as "normal," as he is in accentuating Hitler's right-hand man as a charming charlatan. But this intentionality is miscalculated, and the film, bloated as it is with jarring tonal changes and thickly laid-on sentimentality, tilts so far into humanizing Nazis that it seems, at times, to apologize for the behavior of the high command.

Plankton: The Movie is a gem. Fans of the original series and fans born along the way will enjoy it immensely.

This is classic B-movie creature-feature stuff.

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.

While the movie excels in family dynamics and character development, the visual effects and portrayal of the Kord family as villains fall short. Nonetheless, Blue Beetle is a charming depiction of functional family bonds and a promising introduction to a live-action DC superhero.

The strength of The Persian Version lies in the impressions and feelings that it leaves behind, and the empowering portrait it paints of three generations of Iranian women.

Tetris is a serviceable adaptation, but for all its visual flair and 80s nostalgia, there's still something missing when all the pieces come together.

The saving grace of the film all comes down to Jay Will’s breakout performance. Rob Peace simply does not work without him. Will’s charisma and dedication towards showcasing the light that Rob was offers a comfort to me that this film as a whole failed to provide.

When You Finish Saving the World is filled with interesting ideas and scenes, yet is hindered by character development that feels incomplete.

Scream VI evokes a different kind of nostalgia, taking what made the franchise's original college-set sequel great and amplifying it to a 10. Scream VI is bloodier, scarier, and funnier, nodding to its past while carving a brutal path forward for Ghostface and the new franchise torch-holders who find themselves at the receiving end of the blade.

There are a few lingering plot lines in need of more attention, but overall everything put to the screen makes up for any of Divinity's shortcomings.

The film and its character dynamics are intoxicating and wildly enjoyable, almost uncomfortably so due to the nature of their entanglements. If it had been less concerned with its twists, Saltburn could have been immaculate.

The film may not always conquer its genre's tendency toward oversimplification, but what complexity makes it to the screen is enough to come away from it with something to chew on.

I would love to spend more time with this ensemble. While the story deviations can prove a bit frustrating, the movie is its own thing, and I suspect it'll be a crowd-pleaser.

The Artifice Girl is engaging and compelling, bolstered by stellar performances from its cast, and exceeds where other AI-focused stories might falter.

Barthes’ thought-provoking script is backed by phenomenal performances from Clark and Ejiofor. And despite its longer-than-needed runtime, the feature is sure to keep audiences entertained from start to finish.

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.

Fortunately, the acting, action, and pacing of the story override the film's issues to make The Killer an extremely fun and engaging assassin movie.

This particular narrative is a sound idea but for a documentary instead.

The Becomers could have achieved more, but it's a movie that struggles with definitions, relationships, politics, and just about everything else it attempts to authoritatively establish itself as.

While not flawless in execution, it's daringly creative — the kind of movie that will inevitably cause those who see it to start talking about other movies as a way of understanding

While The Beautiful Game can often feel like a commercial for an admittedly noble cause, the script and performances deliver a relatable human story of dashed dreams and second chances that reminds us why such charities are vital.

What really makes That Christmas such a joy to experience is the colorful details, from the writing to the scenery to the set and character designs to the atmosphere.

Younger children will delight in the film's atmospheric wonder, but older children may be bored by the simple yet nonspecific comedy.

The action sequences are fun. Paired with the film’s visual style and horror elements, it fares well enough, though the personal journeys are lacking.

The jokes fly and mostly land, though that's largely thanks to the skill of the cast.

Tom George returns to directing, attempting to take on the genre with humor and flair. Relying heavily on whodunit tropes, See How They Run is a little too stale and unfunny for its own good.

Sisi & I wanders through its beautiful settings and complicated relationships with alternating ease and nervousness, showcasing surprising takes on these historical figures’ lives.

Wolfs isn't just funny, it's funny in all the different ways it needs to be.

To put it simply: it's just not very stimulating to watch two people who have a hard time talking... have a hard time talking. Stella and Gerry's love may be stuck in the wintry cold, but so is the film, utterly unable to be thawed.

It brings in new characters who stand apart and maintains the connection to the other films, all while critiquing these very aspects in the same breath. The horror commentary remains top tier, with the fifth installment proving the Scream franchise has still got it.

Lightyear is a clever expansion of Pixar's beloved Toy Story franchise - packed with fun moments, warm sentiment, and downright gorgeous animation.

It's an underdog story — sorry, under-goat story — for a new generation that is ready for a new, more inclusive kind of game.

While the film is determined to live in the pain felt and lobbed at its main character, there are moments of gentle vulnerability and contemplation in its exploration of guilt, redemption, grief, and trauma.

Even if it's ultimately forgettable, the movie has an undeniable feel-good appeal, and during the cold winter months, there's no reason to take that away from anybody. Flaws and all, there's no question that this movie will find its audience and be celebrated for its nostalgia and pathos.

In Aporia, drama takes center stage and bells and whistles are few and far between. The production value is simple but effective, as are the performances. By the time the credits roll, Moshe’s film makes its point and, crucially, does not overstay its welcome.

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.

Wonder Woman 1984 is filled with hope, love and optimism, offering impressively cinematic superhero action with beautifully sentimental heart.

It's far from a poorly-constructed movie, but the tonal issues and refusal to invest in its strongest personalities make it a frustrating watch.

Miller’s film is deceptively simple, but there is a tremendous amount of depth and nuance. Viewers will walk away thinking a lot about the film, and a second or third watch is needed to fully absorb the layers within its story.

An explosion of wonder, color and magic, Over the Moon tells a beautifully sentimental story of family and love, with super catchy songs mixed in.

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

While the film has its moments of genuine humor, it never lives up to the energy or intrigue of the opening scene. The rest of the film is an empty, exhausting watch that never truly builds towards anything.

A couple more action set pieces would have also helped the pacing from growing too stagnant as, like its predecessor, Den of Thieves 2 is far too long at nearly two and a half hours. It’s bloated and, with nothing too exciting going on, the wait for the heist itself starts to drag. Despite some tension, there’s no real sense of urgency at any point. The film sets up yet another sequel, but Pantera lacks the passion and consistency needed to dredge up any genuine excitement for yet another film in a struggling franchise.

The film boasts a twee quirkiness in style, but in its narrative, that promise never really comes to fruition. It is, in other words, a much more normal affair than what is promised. In spite of many genuine laughs, that just translates into a disappointing experience.

Finally Dawn brings together a wonderful cast, a compelling story, and stunning artistry to create something magical.

House of Gucci boasts strong performances and is hammy enough to be occasionally enjoyable, but falls flat in the overall effectiveness of its story.

It’s unfortunate that Being the Ricardos never becomes as interesting as the people it’s centered on. The film offers enough interpersonal drama to keep audiences watching and intrigued, but while Sorkin’s script moves steadily towards the ending, the story wanes and never builds enough momentum to truly impress.

Self Reliance doesn’t take itself too seriously, and it’s exactly the kind of directorial debut one would expect from Johnson — and he certainly delivers a wild, energetic, funny story that still works despite a lukewarm ending.

Clock showcases that Jacknow is a talent to watch in horror, though the film doesn’t stick the landing. Occasionally, the concept is stretched too thin, especially when the character work is lacking.

The film is at its best, visually and narratively, when it is deeply entrenched in metal. There is a visceral impact to the third act which truly hones in on what this film has been lacking from the beginning.

We Live in Time gives us what we’ve been missing from romantic dramas. It might be a tearjerker, but there’s a sense of peace watching the couple live as full a life as they can together. And really, that’s all we can ask for while we’re still here.

Though various endings may differ in effective execution or feeling deserved by the closing credits of the two-hour film, some of which among the Shelby clan are guaranteed to be divisive, Peaky Blinders: The Immortal Man is still an entertaining, action-filled, worthwhile return to the story for those who have been missing a recitation of “in the bleak midwinter” over the past several years.

See For Me is an exciting home invasion thriller that dares to challenge viewers with a complicated lead, even if it somewhat fumbles the execution.

This film was made to introduce Burnett's classic novel to a new generation, and it's easy to imagine young viewers will be entranced by Mary's story. And, truthfully, some older ones might be as well. That's just the magic of the garden.

Fuze may not reinvent the wheel, but sometimes all you need is a solid thriller with a hot cast to really give a film the oomph it needs.

Leon imbues the film with an uncertain sense of dread, but he doesn’t lead the story or its protagonist anywhere worthwhile. It’s as though the narrative was designed specifically to capture the feeling of being lost in the city and what that might do to someone, but there’s very little exploration of Alina’s interiority for it to be satisfying.

Eslyn has full control of every element of the filmmaking process and the team to execute that vision. Fenton's production design fits the film perfectly and every little touch works to build out this world. Duplass and Brown are an unlikely, but deeply successful, duo.

The acting, from both Black Panther's Letitia Wright as June and Tamara Lawrance as Jennifer, is a particular standout. Their commitment to delivering intriguing performances as troubled twins elevates this weak script and enables viewers to become fixated on what was happening to them.

An emotional movie about family that showcases the strength and togetherness of rural America through a vibrant, moving presentation.

Through form and function, Abbas demonstrates the ironic and contradictory nature of his very enterprise, as the temporal fixity of the photograph clashes with the persistent movement of a migrant constantly pulled in multiple directions.

While the human characters are there for exposition and could’ve used additional development, Godzilla vs. Kong is engaging and visually stunning.

Though the sparks could be brighter for its central couple, What's Love Got to Do with It? still has plenty of charm.

No Hard Feelings is a dual coming-of-age story hidden inside a raunchy comedy that, despite its faults, is both sweet and hysterical, with a chaotic performance from Lawrence that shows the actress can do just about anything.

The film's best attribute is the romance between Bruce and Faye. White and Young's chemistry is palpable, and Cooper solidly helps us understand why an artist on the verge of overwhelming fame might be interested in a working-class single mother, whose planted smile belies the pain of someone abandoned and bereft. There's a nuance here that the rest of the film sorely lacks and needs.

Although it makes for a better rom-com than murder-mystery, The Lovebirds is an entertaining romp powered to life by Nanjiani and Rae's chemistry.

The Gutter is ultimately an enjoyable throwback to the broad-skewing sports comedies of the '90s.

The Napa Boys is best enjoyed like a California wine road trip: you can be vaguely aware of the territory, but it's more fun to just ride along its peaks and valleys. When the film hits, it really hits.

It may not be laugh-out-loud funny at every turn, but Quiz Lady, with an irresistible cast, is entertaining with just the right amount of heart and energy.

The film is masterful in exploring the kinetic energy between its leads, even in the most subdued scenes. The Pact is a slow burn, but one feels the heat the whole time.

Together finds moments of real emotion between its main prickly pair, but it still makes one wish there weren't movies about COVID already.

While the film does take its time stepping out on its own and out of the shadows of Aladdin and its "tale as old as time" story (Long's own words), Wish Dragon is a heartwarming, charming film with a great message and lovely characters.

As it tells a thrilling story, engineered with expert precision to keep you hanging on every turn, it embarks on a truly fascinating thought experiment about the nature of identity in relationships: who we are to other people, how easily that can change, and how disruptive it can be when it does. This film is rooted (to steal one of its laugh lines) in "double empathy," exploring when and why we condemn others without itself condemning any of its characters. It may be an entertaining conversation piece, but make no mistake, The Drama is also one of the best movies you'll see this year.

Given some time to think on it later, viewers might have trouble pinning down what it actually had to say about all those thorny subjects it seemed to be about.

Nobody 2's themes could’ve been better explored, but it’s easy to overlook that and enjoy the fun, action-packed ride.

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.

A Banquet is a beautifully made psychological thriller with nuanced performances and a gross hook.

Is it a well-made film? Absolutely, and Morosini has a strong vision for how to shape a story and characters right out of the gate. Unfortunately, that doesn’t turn I Love My Dad into a must-watch.

The characters, in their fight to live another day, and the thrilling, suspenseful sequences are what make the film worth watching. However, Those Who Wish Me Dead could have more thoroughly explored the very details that drove the plot, which would have elevated it beyond a basic action-thriller.

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.

Don’t underestimate Upgraded. The script is snappy and entertaining, the characters are colorful, Mendes and Renaux carry the romance very well, and the film is a fun escapist rom-com that gives exactly what it needs to provide us with a good time.

Her first outing is largely a rush of violent, thrilling action, entertainingly served up for the big screen, but it isn't without its problems. I just hope that if this killer gets to dance again, she's better served by a more streamlined narrative.

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.

Marshall has captured enough of the magic from the original to entertain longtime fans. Bailey's Ariel is one for the ages, and McCarthy is fantastic as Ursula. With these two ladies on board, The Little Mermaid is a genuine delight.

Elfman’s directorial feature debut has enough to hold it together, including a tremendous cast and character dynamics that are thoughtful, interesting, and complicated.

Ambitious ideas and stunning visuals do not make for a great film, but Millepied should consider following his instincts to fight for an all-dance musical for his next feature.

While its performances are lovely and tender, with the execution somewhat messy in its handling of themes, All My Puny Sorrows doesn’t dig past the surface enough to make a strong enough case for itself.

Ride is an enthralling movie about the lengths a family is willing to go to protect one another, tugging at the heartstrings and leaving an impression long after the credits roll.

The heart of the problem is The Monkey King makes its central character, whose story has been told and retold for hundreds of years, uninteresting. Without that spine to hold it together, everything collapses.

Whereas most Disney remakes have been limited by a lack of originality, both in terms of script and character development, Cruella emerges as a much-needed act of rebellion, with the titular character donning an identity invested with true meaning. Needless to say, Cruella is the future.

What Happens Later isn't without some hiccups in its execution, but with Ryan at the helm, it's impossible not to feel charmed.

Overall, the pulpier and the dumber it gets, Primate provides a pretty good reason to get to the theater in January. And, it gets pretty pulpy and dumb indeed.

With such incredible performers as Colman and Cumberbatch at the center of it all, though, it's easy to have a blast. You'll want them to break up just as much as you want them to make up, and that is the most impressive thing of all.

If Ready or Not was a chess match, Here I Come is tic-tac-toe.