Yolanda Machado

While director Reece has some 20 films to his credit in the last decade alone, it appears that he still doesn’t quite have a handle on either plot or pacing.

It’s a valiant effort from Berry, but it doesn’t quite hit the mark, weighed down by a formulaic script, uneven fight direction, and little depth in exploring how a female fighter’s experience might change when a role written as a white, Irish woman is played by a Black actor.

While Clifford is definitely cute, the script (screenplay and story are credited to five writers) lacks any depth, relying upon Whitehall to carry and deliver the comedy — so much so that Casey feels simultaneously exaggerated and two-dimensional.

Ron’s Gone Wrong offers partially realized messaging about social media while populating the story with elementary sight gags, too many overused “fish out of water” tropes, and attractive merchandise options.

Building on 2019’s solidly entertaining animated entry, The Addams Family 2 remains kooky and fun, yet it lacks the warmth from the previous film and feels more juvenile, too.

Natalie Morales’ directorial debut Language Lessons creates a warmth that so often gets lost in these virtual meetings. With her gentle guidance and two very heartfelt performances, the result is a warm, lovely film about platonic affection and the human need for connection.

The Lost Daughter is a masterwork in perception and all that society places upon mothers and motherhood.

Cinderella has far less substance than [Cannon’s] other features, ultimately making this a one-time, forgettable watch.

The Night House works as an exploration of grief because of Rebecca Hall’s incredible performance, plain and simple. But as a horror film, it overpromises early on and then fails to deliver on any chills that go beyond a jump scare.

Paw Patrol: The Movie” is both entertaining and educational, and that’s always a major accomplishment for a family film.