While Ian Bonhôte and Peter Ettedgui's documentary Super/Man: The Christopher Reeve Story recounts Reeve's journey with appropriate tenderness, it isn't a hagiography. It consistently reminds audiences that this was a real human being, and not actually a savior from another star.

Love Lies Bleeding transforms into a thrillingly grimy, seedy, Americana-and-fluid-soaked body-horror noir that's unabashedly queer and winningly deranged.

When Presence delves into the more typical trappings of the genre — everything from a scene where a psychic investigates the house to moments of seance-like invocation — it still retains its unique voice, thanks not just to Soderbergh but Koepp.

As a celebration and an elegy for a creature that isn't and never was, "Sasquatch Sunset" is kind of beautiful and kind of ridiculous.

Lindy doesn't just make a fun genre mash-up of a film, blending together comedy, fantasy, romance, horror, and musical theatre, but uses the movie's genre elements to tell a subversively wicked story of suppressed emotions, and what can result when those feelings aren't kept behind a closet door.

Thelma's plight is handled with respect, and by putting us in her perspective, Margolin allows us to empathize and see the world through her eyes.

There are plenty of enjoyable moments here, and audiences who want nothing more than a Jason Statham beat-'em-up will surely be satisfied. But this movie's narrative and creative stumbles put into stark relief what we've known for 10 years now: The "John Wick" formula might seem easy to replicate, but to make an equally legendary action film is much, much harder than it looks.

The Book of Clarence is aspirational, unique, moving, funny, weird, and very shaggy. But it's better to have a picture's cup runneth over than to present us with an empty chalice.

The film is a fun and totally fetch amalgamation of both eras of Cady, Regina, Gretchen, Karen, Janis, and Damian.

Ultimately, Night Swim is a bit of a contradiction in terms, a mostly generic horror film that impressively adds a few unique elements to the proceedings. It's a shame that McGuire doesn't follow Russell's lead and allow the movie to really go bonkers; perhaps they were intimidated by 2002's "Dark Water" or the "Jack Frost" films, which do more with the idea of "evil water" than is seen here. Still, "Night Swim" delivers the goods enough to be a fun time, and like a day in a backyard pool, it may not be super memorable but that doesn't mean it's not enjoyable.

When the plot gets going and we're on a road trip through fantastical locations, the movie becomes a fun ride. It's not as good as the original, but it is still one of the better superhero films of the year.

The best that can be said about everything surrounding Powell and Sweeney in Anyone But You is that they mostly have the good sense to move the plot quickly and then let the stars sparkle.

In spite of the pedigree of White as writer (and yes, it is that Mike White, of "The White Lotus" and "School of Rock"), and Benjamin Renner as director (following up on his very sweet and tender 2014 animated film "Ernest & Celestine"), Migration rarely approaches a level of excitement or creativity that might be hoped for with a big-budget animated feature.

Blitz Bazawule and a cast of talented performers do their best, but the end result just doesn't gel.

Another lighthearted, fast-paced adventure that is both enjoyable and can't help but feel slightly like reheated leftovers.

The film tastes like the cinematic equivalent of Clooney's tequila brand Casamigos. That is to say, The Boys in the Boat goes down smoothly, if somewhat unremarkably.

Ultimately, "Rebel Moon" resembles little more than a grab-bag collection of world-building influences, mythology, and epic storytelling that we've seen done better many times before.

The Iron Claw is an emotionally eviscerating watch anchored by one of the best ensemble casts of the year.

Origin lacks both a center of gravity and a sense of scale.

Miyazaki remains one of our greatest filmmakers because he utilizes the medium of animation to tell intensely personal stories that open up our eyes to grand new worlds, strange new characters, and unforgettable images. "The Boy and the Heron" is one of the year's best films, and hopefully not his last masterpiece.

I'm not quite sure what "Leave the World Behind" is trying to say, other than the fact that as a species, we seem to be inherently doomed because we're too neurotic to help ourselves. That might leave a sour taste in the mouths of some viewers, but there's something refreshing about a film so unapologetic about its unflinching hopelessness. 

Even with a runtime twice as long as the typical "Monk" episode, "Mr. Monk's Last Case" has the same breezy pacing — mostly.

So while Timothée Chalamet doesn't have the magic to hold the movie on his back, the movie around him is still rather splendid and enjoyable. Even if Chalamet ends up leaving a displeasing taste in your mouth, he doesn't end up ruining this sweet treat. 

It all ends up being a touch forgettable by the time the end credits roll, but the journey to get there is never dull.

Though this film is well-intentioned, fleetly paced, and boasts a unique blend of animation, it's a desperate and sweaty attempt to revive the past glories of the studio.

Though Leo is perhaps not the most groundbreaking animated film of the year, its gentle tone and emotion mixed with some standard anarchic gags from the Happy Madison school of comedy work in its favor.

More than anything else, Thanksgiving is a gnarly, entertaining, and gleefully over-the-top fright fest — one that demands to be enjoyed in rowdy midnight screenings at repertory theaters for years to come.