Josh Spiegel

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.

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.

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.

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.

A Haunting in Venice does try to spice things up, but all the skewed angles in the world can't hide the fact that this mystery is half as eerie as it wants to be, and roughly as entertaining.

This movie isn't even worth glancing at when you scroll through your Netflix profile.

The quirky ensemble, anchored by a solid starring performance from LaKeith Stanfield, is aided by Justin Simien's effective direction. Though this film is perhaps not as surefooted a theme-park adaptation as the first "Pirates of the Caribbean" was, it washes away any memory of the more family-friendly take from two decades ago. This "Haunted Mansion" has a lot more bite than you might think.

No Hard Feelings is enjoyable because Jennifer Lawrence is still one of the most delightful actresses of her generation. (At one point, another character dryly dubs her "America's sweetheart," but the moniker does kind of fit in a sincere way.) She's well matched by Andrew Barth Feldman here; their performances are what make this film work.