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.