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.