Suk Suk is his most accomplished, mature film to date, and Yeung demonstrates a keen eye for the social dynamics that impact us and how we respond to them, and finds space to bask in the simple pleasures, basic generosity and the safety net that is family while simultaneously dealing with homophobia, ageism and faith.

An unapologetically delirious frolic in which lifelong friendship is tested by romance, adventure and the mass-extermination plan of an archvillain, this disarming escape to turquoise waters and a seafood buffet will be just what many folks need right now.

Its freewheeling storytelling often feels slapdash, its hippy-dippy earnestness a touch simplistic and its central allegory is lifted straight out of X-Men. But there's a nonstop fusillade of imagination at work here that commands attention, even when the balance of art-school inventiveness and child-like fantasy threatens to topple into chaos.

Though it can at times feel wanting in dramatic heft or clarity, The Dog Who Wouldn't Be Quiet can also be revelatory, and its drama flowers in delightfully unflashy ways.

The plotting is haphazard and laced with meandering detours that don't always pay off, but there's a distinctive voice in the deadpan humor and poignancy in the story's collision of aspirational self-delusion with blithe resignation.

It’s hard to think of a less dramatic subject to fictionalize, yet in its own quiet way, Hive builds a strong storyline around the self-reliance and determination of an uneducated country woman, played with glammed-down but riveting cool by a granite-faced Yllka Gashi.

While it has a few incidental felicities to admire, by and large Music is a sentimental atrocity so cringe-inducing it should come with an advisory warning for anyone with preexisting shoulder or back injuries.

Breaking News in Yuba County features a pitch-perfect Janney at the center of a game cast of well-knowns. Yet as it fumbles through its unwieldy mix of crime-caper farce, social commentary and black comedy, the genre it most solidly nails is the one that poses the burning question "Why did so many accomplished actors sign on to this?"

To All the Boys: Always and Forever is the most mature, and thus, most entertaining of the three films because it highlights the choices Lara Jean makes for herself instead of the choices she makes about other people.

Kyle Allen and Kathryn Newton balance energies well as the boy who thinks he's found his groundhog girlfriend and the girl whose secrets keep romance at bay. Viewers who haven't soured on the format yet could do much worse than this sweet entry.

It makes a global crisis intensely personal, even romantic.

It transitions from tender romance into penetrating sorrow before taking on notes of mordant humor and unexpected quasi-thriller elements.

Cobb’s face is a canvas for a world of yearning that can’t fully be revealed to us because she doesn’t have the language to articulate it yet. That truth allows the film to feel both specific and universal at the same time.

Lyle Mitchell Corbine Jr.'s feature debut represents indie cinema at its most stark and elemental.

It's pleasant enough, but lacks the vitality to be more than mildly funny as comedy as well as the insight to build emotional heft as drama.

Strawberry Mansion is a movie about the preservation of imagination. There is definitely an undercurrent of anti-corporate messaging that is always relevant in this modern media landscape. But these themes are not presented with a heavy hand. The point that the film is trying to make can be taken as lightly or as seriously as one likes. What Audley and Birney seem to want most is for audiences to allow themselves to be overtaken by their deliberately childlike approach to storytelling.

Misha's actual story is fascinating in its own way, but within the relative levity of Hobkinson's framework, her truth and trauma get lost in a detective yarn. The film lacks the heft to adequately explain the nuance of Misha's truth

While the two young thesps acquit themselves nicely, much around them conspires to prevent their debut from being a memorable one.

Though the movie is never unengaging, ultimately, it doesn't quite deliver.

If 107 minutes is maybe insufficient for something as important and layered as Sesame Street, that likely won't keep viewers from being satisfied.

While The Sparks Brothers may be a bit too exhaustive for those merely seeking an introduction to the band, longtime fans will be thrilled by the deluxe treatment.

Sisto has an arresting visual style, a firm command of tone and an impressive ability to steer his fine cast onto the same rigorous wavelength, all of which makes him a talent to watch.

As with both of his previous works, the filmmaker delivers an undeniably ambitious mind-bender that bites off more than it can narratively chew.

It alternates between too simplistic and incomprehensible, spending much of its time in between those poles in the "I understand, but I don't care" zone.

Whether this is a one-time passion project or the beginnings of an ongoing move from acting into directing in her career focus, Hall has crafted a work that's thoughtful, provocative and emotionally resonant.

Led by sensational performances from Daniel Kaluuya as Hampton and LaKeith Stanfield as William O'Neal, the FBI informant who infiltrated his inner circle, this is a scalding account of oppression and revolution, coercion and betrayal, rendered more shocking by the undiminished currency of its themes.

It's not wholly satisfying as a dramatic work, which is probably a sign of its honest identification with its two troubled protagonists.

It's a harrowing watch, but a cathartic one, with each of the four superb principal actors delivering scenes of wrenching release.